N S T R U C T IONS  IN  P/\  I NT  S N G 

ILV 

Oil  and  Water  Colors 

on:  Silk  ■ Satin  ■ Velvet  . 

and  Other  Fabric 

BY 


Busan  Hale 


Including 


L u 


US  TR E AND  1<E N SIN  G \ 

jy  G 


s 


VON 


Digitized  by  the  Internet  Archive 
in  2016  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/selfinstructivelOOhale 


SELF-INSTRUCTIVE  LESSONS 


IN  PAINTING  WITH 

OIL  AND  WATER-COLORS 

ON 

SILK,  SATIN,  VELVET 

AND  OTHER  FABRICS 

INCLUDING  LUSTRA  PAINTING  AND  THE 
USE  OF  OTHER  MEDIUMS 


SUSAN  HALE. 


BOSTON : 

S.  W.  TILTON  AND  COMPANY. 


Copyright, 

By  S.  W.  Tilton  & Co. 
1SS5. 


ELECTROTYPED  BY 
C.  J.  Peters  and  Son,  Boston. 


THE  GETTY  CENTER 
LIBRARY 


CONTENTS, 


Chapter  Page 

I.  Introduction 13 

II.  Drawing 25 

III.  Drawing  (continued) 39 

IV.  Design 49 

Y.  Selecting  Designs 59 

VI.  Pigments 69 

VII.  Colors,  Practical 83 

VIII.  Colors,  Theoretical 97 

IX.  Light  and  Shade 103 

X.  Transparent  Water-Colors 117 

XI.  Liquid  Colors 129 

XII.  Gouache  or  Body  Colors 139 

XIII.  Oil  Painting 149 

XIV.  Painting  on  Silk  and  Satin 161 

XV.  Painting  on  Velvet 175 

XVI.  Lustra  Painting 189 

XVII.  Inlaid  Painting 205 

XVIII.  "aapestry  Painting 219 

XIX.  Water-Colors  on  Muslin,  etc 231 

XX.  Painting  on  Gold  Paper 239 

XXI.  Painting  Transparencies 245 

XXII.  Painting  on  Wood  and  Leather 253. 

XXIII.  Stencilling 259 

XXIV.  What  to  Decorate 265 


MATERIALS. 


Our  original  intention  was  to  give  a detailed  price-list  of  all 
the  materials  required  to  carry  out  the  instructions  given  in  this 
volume ; but,  after  preparing  the  list,  we  find  it  will  occupy  so 
much  space  that  we  have  decided  to  print  it  separately,  and 
will  mail  it,  free  of  expense,  to  all  of  our  patrons  who  will  send 
to  us  for  it. 

It  will  not  be  necessary  for  the  beginner  to  buy  the  most 
expensive  materials  for  first  practice.  Take  colors,  for  instance : 
the  Decorative  Art  box  recommended  contains  ten  good  and 
true  colors.  They  are  not  so  expensively  prepared  as  the  finer 
grade,  but,  after  being  applied  side  by  side,  it  will  require  an 
expert  to  detect  any  difference  between  them. 

A saving  in  expense  can  also  be  made  in  the  brushes.  A 
camel’s-hair  brush,  No.  7,  and  a sable  of  the  same  size,  appear 
so  much  alike  that  the  beginner  would  be  as  likely  to  choose 
one  as  the  other;  and  yet  the  sable  will  cost  a dollar  and  a half, 
while  the  camel’s-hair  can  be  bought  for  twenty-five  cents.  Of 
course,  the  sable  is  the  better  brush,  and,  to  one  who  knows  how 
to  use  it,  is  worth  the  difference;  but  while  learning,  the 
cheaper  one  will  answer  every  purpose. 

Then  in  paper  another  saving  can  be  made.  There  is  paper 
expressly  prepared  for  water-colors  which  is  expensive.  It  is 
no  better  for  the  beginner  to  practise  upon  while  he  is  learning 
about  colors  than  the  log  paper,  which  is  offered  as  a substitute. 

One  object  in  preparing  this  book  was  to  enable  those  who 
have  had  no  previous  experience  with  pencil  or  brush  an 
opportunity  to  produce  comparatively  immediate  results.  The 
“Transferring  Designs,”  described  on  another  page,  can  be 
made  to  take  the  place  of  a knowledge  of  drawing,  and  with 
little  practice,  as  recommended,  with  colors,  such  a result  can 
be  accomplished. 


9 


10 


INTRODUCTION. 


TRANSFERRING  DESIGNS. 

The  working  of  these  designs  is  very  simple.  Any  one,  by 
following  the  directions,  can  nse  them  in  transferring  an  outline 
to  any  material  desired,  and  which  may  afterwards  be  finished 
with  pencil,  brush,  or  needle. 

Those  who  have  no  knowledge  of  drawing  can,  with  the  aid 
of  these  designs,  make  many  pretty  and  ornamental  articles  for 
presents  or  for  sale.  Those  who  prefer  to  draw  their  own 
designs  can  have  them  made  transferable  by  us,  so  as  to  re- 
produce them  over  and  over  again  without  the  trouble  of  stop- 
ping each  time  to  make  a drawing.  They  can  be  used  for  lustre 
and  Kensington  painting,  and  also  on  any  material,  including 
silk,  satin,  velvet,  and  all  other  fabrics ; plaques,  china,  paper, 
wood,  doors,  walls,  ceilings,  etc. ; and,  in  fact,  anything  which 
one  desires  to  decorate. 

We  can  furnish  a colored,  or  partially  colored,  copy  of  any 
pattern  mentioned  in  our  list ; the  price,  which  will  be  given 
on  application,  will  depend  on  the  amount  of  work  put  into  it. 

Any  patterns  not  on  our  list  can  be  made  to  order.  The 
designs  are  all  sold  separately  at  the  prices  set  against  them. 

We  are  constantly  publishing  new  books  of  instruction,  and 
new  methods  of  art  decoration  (self-instructive),  descriptive 
circulars  of  which  we  will  send  to  any  address  on  application. 


S.  W.  TILTON  & CO.,  Boston. 


INTRODUCTION. 


CHAPTER  I. 

INTRODUCTION.  — ART  AND  TASTE. 

The  mania  for  promiscuous  household  decoration  which 
seized  upon  society  some  years  ago  has  already  passed  its 
height,  and  women  are  beginning  to  recognize  that  orna- 
ment, in  order  to  be  ornamental,  must  be  rare  in  texture, 
choice  in  design,  and  good  in  execution.  There  was  a 
time  when  it  was  deemed  sufficient  to  put  something  on 
anything.  Every  straight  line  in  a “ decorated  ” drawing- 


14 


se(f-instr uctive  lessons. 


room  was  stretched  with  a lambrequin.  Every  square  of 
cloth  must  have  a sunflower  or  an  owl,  somewhere  away 
from  the  centre,  worked  into  it  in  an  unsymmetrical 
manner.  Even  the  commonest  dish-towel  must  have  a 
poppy  thrown  across  its  corner,  and  no  mantel-piece  or 
shelf,  cushion,  curtain,  counterpane  or  chair-back  was 
safe  from  the  application  of  some  “ realistic  ” design,  so 
called  from  a vague  idea  of  imitating  nature  which  had 
beset  the  executor,  or  rather  the  executioner,  of  the  work. 
The  trouble  with  these  things  was  that  they  were  clone 
without  sufficient  thought  and  care,  generally  reproduced 
from  the  untrained  recollection  of  some  similar  object. 
Heedless  of  the  existence  of  guide-books,  directions,  pat- 
terns, good  designs,  which  furnish  to  every  beginner  safe- 
guards against  bad  work,  young  ladies  rushed  into  the  busi- 
ness of  decoration  with  less  preparation  than  they  would 
find  necessary  before  risking  a visit  to  the  kitchen  with  the 
intention  of  preparing  some  dainty  dish.  For  that  they 
would  of  course  consult  a cook-book,  unless  they  had  their 
receipt  by  heart.  The  more  experienced  the  cook,  the  less 
she  will  trust  her  inspiration  to  make  anything  good. 
Rule,  measure,  accuracy,  are  her  aim,  and  for  this  she  dons 
her  spectacles,  as  well  as  her  apron,  and  after  carefully 
studying  the  receipt,  assembles  all  the  materials  it  dic- 
tates, and,  carefully  following  the  written  directions,  obeys 
implicitly  the  laws  laid  down  by  some  experienced  artist 
in  dough.  Not  so  the  rash  decorators  of  whom  I am 
speaking.  There  seemed  to  be  an  idea,  and  it  still  exists, 
that  it  is  fine  to  do  anything  without  knowing  how. 
“ Only  think,”  it  is  said,  “ she  did  it  without  any  instruc- 


OIL  AND  WATER-COLOR  PAINTING. 


15 


tion  at  all ! ” It  is  no  consolation  when  we  are  offered  a 
hard  heavy  biscuit,  yellow  with  saleratus,  to  be  told,  a Only 
think,  the  cook  did  it  without  any  instruction  at  all ! ” 
The  reply  in  both  cases  would  be,  “ I should  think  so ; 
why  did  she,  by  the  way,  when  it  is  so  easy  to  learn  ? ” 

Lessons  from  experienced  teachers  are  not  always 
within  range,  nor  is  the  time  always  available  for  long 
and  steady  practice  in  the  studio  of  an  artist.  It  is  true 
that  formerly  these  were  the  only  methods  of  instruction, 
but  it  is  now  recognized  that  any  clever  girl  may  discover, 
with  the  aid  of  written  directions,  the  secrets  of  the  best 
work  in  decoration ; and  that  such  directions  may  be  at 
the  same  time  clear  and  simple,  while  giving  a high  aim 
to  the  learner,  I have,  with  the  aid  of  Mr.  Tilton,  prepared 
this  little  book. 

I couple  the  word  “taste”  with  that  of  “art,”  for  the  rea- 
son that  it  is  essentially  a feminine  quality,  and  one  that  no 
woman  need  be  frightened  at.  A girl  may  well  be  deterred 
from  devoting  her  life  to  the  pursuit  of  high  art  because 
she  fears  she  has  not  talent ; but  few  young  ladies  would 
be  willing  to  avow  that  they  are  lacking  in  taste.  Almost 
every  young  woman  possesses  a quick  eye  for  form,  a sen- 
sitive perception  of  color,  and  a general  conscientiousness 
in  regard  to  the  fitness  of  things  in  all  matters  appertain- 
ing to  dress.  The  costumes  of  pretty  girls,  planned  chiefly 
by  their  wearers,  which  we  pass  daily  in  the  street,  or 
study  in  the  opposite  seat  of  a street-car,  are,  in  general, 
simple,  tasteful,  and  well  chosen ; and  yet  some  wearer 
and  designer  of  one  of  these  costumes  several  years  ago 
might  have  been  perfectly  capable  of  executing  a hideous. 


16 


SELF-INSTRUCTIVE  LESSONS. 


“ realistic  ” poppy  on  a “ greenery-yallery  ” ground,  with 
a blue  cornflower  stiffly  poked  up  against  it,  and  a trailing 
vine,  grown  under  the  glass  of  a heated  fancy,  straggling 
from  nowhere  to  anywhere.  I say  “several  years  ago,”  be- 
cause all  this,  happily,  has  gone  by,  and  such  ill-judged  per- 
formances have  joined  the  majority  in  garret  or  chest, 
whither  their  predecessors,  tall  black  panels  decorated  with 
the  once  inevitable  sunflower  or  golden-rod,  had  gone 
before.  It  is  because  so  many  willing  hands  and  brains, 
self-prepared  for  something  better  by  the  very  discontent 
caused  by  these  early  efforts,  are  asking  for  new  light  on 
good  decorative  art,  that  such  text-books  as  Mr.  Tilton’s 
are  in  demand. 

While  the  indiscriminate  use  of  decoration,  without 
discipline  or  judgment,  therefore,  is  dying  out,  our  drawing- 
rooms are  none  the  less  in  need  of  true  ornament.  We 
shall  not  return  to  the  bare,  dreary  parlors  of  fifty  years 
ago,  where  a stiff  row  of  horse-hair  chairs  flanked  a hard 
horse-hair  sofa  on  the  four  sides  of  a large,  square  room, 
with  a square  centre-table,  and  a rigid  mantel-piece  sternly 
surmounted  by  a clock  and  nothing  else.  Our  rooms  will 
be  fitted  up  with  pretty  furniture,  and  moderately  filled 
with  knick-knacks ; embroidery  and  painted  decorations 
will  be  used,  though  sparingly,  and  their  design  and  exe- 
cution will  be  marked  by  a knowledge  of  the  rules  of  art 
and  the  exercise  of  good  taste.  These  two  things  must 
control  the  selection  of  objects  of  ornament,  and  the  exe- 
cution of  such  as  are  made  by  amateurs,  just  as  much  as 
of  those  bought  in  shops.  The  time  is  gone  by  when  it 
was  enough  to  say,  “ Only  think,  I made  it  myself ! ” to 


OIL  AND  WATER-COLOR  PAINTING. 


17 


extenuate  defects,  or  even  to  win  praise  for  a bit  of  orna- 
mental work.  There  is  now  so  much  competition  among 
amateur  as  well  as  professional  artists,  that  a piece  of 
work  must  be  absolutely  good  to  be  approved  at  all,  or 
admitted  into  any  collection  of  ornamental  work.  With 
fancy-work,  so  called,  it  is  now  a question  of  the  survival 
of  the  fittest.  Since  the  world  has  been  flooded  with 
panels,  lambrequins,  plaques,  and  banner-screens,  it  is  only 
the  best  that  can  survive,  although,  in  this  case,  it  is  these 
that  will  go  to  the  wall. 

The  very  name  “fancy-work  ” must  be  given  up  ; for  it 
is  not  unrestrained  Fancy  that  rules  the  hour,  but  Fancy, 
no  longer  free,  put  in  the  close  trammels  of  conven- 
tion and  rule.  Some  people  will  still  demur  at  this  de- 
cision ; but,  after  due  reflection  upon  the  sad  results  of 
Fancy  rioting  unrepressed  with  the  easily-handled  materials 
of  modern  decoration,  even  these  must  acknowledge  the 
need  of  law  and  order,  and  consent  to  follow  written 
directions  in  the  parlor  as  well  as  in  the  kitchen. 

“ In  maiden  meditation,  fancy-free,” 

no  longer  must  the  young  enthusiast  throw  a plush  owl 
across  a floss  moon  in  the  corner  of  a cotton-flannel  anti- 
macassar. The  trouble  with  these  fancies,  by  the  way,  was 
that  they  were  often  the  fancies  of  some  one  else,  imitated 
and  reproduced  to  the  detriment  of  the  original  idea,  so 
that  not  one,  but  many  owls,  flitted  across  countless  moons 
upon  innumerable  anti-macassars. 

I speak  here  indiscriminately  of  decorated  objects  in  the 
form  of  embroidery  or  any  sort  of  painting,  for  the  reason 


18 


SELF-INSTR  UCTIVE  LESSONS- 


that  the  same  principle  applies  to  all  of  them.  These 
things  must  be  good,  taken  from  good  models,  rather  than 
original  in  design  and  conception,  or  they  will  he  bad.  No 
matter  whether  worked  with  the  needle  or  laid  on  by 
the  brush,  no  matter  how  delicious  the  texture  or  delicate 
the  tints  employed,  it  must  be  that  the  forms  selected,  the 
judgment  used,  the  taste  displayed,  in  the  execution  of 
such  objects,  are  what  will  render  them  worthy  to  survive, 
or  condemn  them  to  prompt  withdrawal  from  the  position 
they  were  intended  to  occupy. 

Embroidery,  the  directions  for  which  are  to  form  no 
part  of  these  pages,  is  closely  allied  to  all  the  other 
methods  of  decorating,  and  the  same  rules  of  art  and  taste 
are  as  binding  upon  the  needle  as  the  brush.  Thus,  wfhile 
the  progress  of  the  arts  of  the  needle  has  done  much  to 
elevate  the  general  taste  and  tone  of  decoration,  em- 
broidery is  responsible  for  a good  deal  of  lawlessness  in 
the  matter  of  design.  There  was  once  a wholesome  fear 
of  meddling  with  the  implements  of  high  art,  which 
restrained  women  especially  from  rash  attempts  at  orna- 
mentation. The  pencil  and  palette  of  Raphael  were  too 
sacred  to  be  applied  to  trivial  purposes ; it  was  thought 
that  it  was  necessary  to  be  a true  artist,  born  and  inspired, 
in  order  even  only  to  possess  paints,  palette,  brushes,  and 
canvas,  with  which  to  carry  out  artistic  ideas.  But  needle, 
thimble,  and  scissors  are  essentially  the  weapons  of  our 
sex,  and  nothing  could  prevent  the  use  of  these  for  orna- 
mental purposes.  This  caused  the  flow  and  overflow  of 
untrained  embroidery  and  needlework  decoration.  Bolder 
grown,  women  have  discovered  that  it  is  as  easy  to  exe- 


OIL  AND  WATER-COLOR  PAINTING. 


19 


cute  designs  with  the  brush  as  with  the  needle ; a little 
paint  is  as  cheap  as  a skein  of  embroidery  floss,  and  a pre- 
pared panel  cheaper  than  a yard  of  velvet ; until  at  last 
the  natural  order  of  things  is  so  reversed  that  embroidery 
itself  is  imitated,  and  a pen  filled  with  color  is  made  to 
reproduce  the  long  stitches  of  embroideiy. 

I must  repeat,  and  still  repeat,  that  while  it  is  as  easy 
for  the  cunning,  skilful  hand  of  woman  to  execute  designs 
in  one  medium  as  another,  not  one  of  these  designs  will  be 
worth  anything,  with  whatever  material  it  is  executed, 
unless  the  design,  to  begin  with,  is  good.  For  this  reason 
it  is  best  to  begin  with  designs  already  prepared.  Rumors 
are  constantly  arising  that  this  and  that  new  form  of  orna- 
mental decoration  is  “ real  easy  to  do,”  and  girls  drop  the 
difficulties  they  have  been  struggling  with  to  fly  to  new 
ones  that  they  know  not  of.  Let  them  learn,  once  for  all, 
that  one  great  law  underlies  all  these  things,  the  law  of  har- 
mony and  taste.  This  once  mastered,  every  new  fashion  of 
doing  decorative  work  is  easily  acquired.  Any  good  book 
of  directions  will  enable  any  clever  young  person  to  get 
the  knack  of  using  any  vehicle  of  expression,  and  by  the 
use  of  such  instructions,  with  well-selected  patterns  of 
good  designs,  the  eye  is  trained,  the  judgment  matured, 
the  taste  allowed  to  exercise  itself  in  the  right  direction. 
Without  such  guides,  every  new  attempt  will  be  but 
failure,  every  new  result  will  have  the  same  old  bad  quali- 
ties with  the  rest. 

The  fact  is  every  day  becoming  more  and  more  widely 
recognized,  especially  in  the  field  of  embroidery,  where 
the  reaction  from  indiscriminate  execution  is  almost  uni- 


20 


SELF-INS TR UCTI VE  LESSONS. 


versa!,  that  it  is  better  to  trust  to  designs  prepared  by 
skilled  persons  than  to  impromptu  invention.  The  ad- 
mirable teaching  of  South  Kensington  lias  done  much  to 
improve  the  style  and  elevate  the  designs  of  amateur 
workers.  It  is  always  to  be  borne  in  mind  that  the  same 
rules  of  art  and  taste  apply  to  the  brush  as  to  the  needle  ; 
in  this  way  each  will  elevate  the  other. 

Artist’s  materials  are  usually  regarded  as  higher  in  the 
scale  of  mediums,  as  means  of  artistic  expression,  than 
those  of  the  needlewoman.  All  pigments,  whether  used 
through  the  vehicle  of  oil,  water,  turpentine,  or  gums,  are 
regarded  with  respect  as  the  materials  by  the  aid  of  which 
the  highest  inspirations  of  the  great  artists  have  been  ex- 
pressed since  the  time  of  t he  great  masters  of  art ; and  the 
canvas  and  panel  must,  with  these  pigments,  take  the 
same  high  place.  However  beautiful  the  shades  and  tints 
which  modern  chemistry  has  applied  to  flosses,  wools,  and 
threads,  however  rich  the  folds  of  satin  and  velvet  upon 
which  these  materials  may  be  spread,  it  must  be  remem- 
bered that  the  brush  is  higher  than  the  needle,  in  the 
grade  of  artistic  implements. 

I repeat  that  this  can  best  be  done  by  consulting  a good 
book  of  directions,  and  by  beginning,  at  least,  with  the 
use  of  such  patterns  and  designs  as  are  furnished  by  Mr. 
Tilton  expressly  for  the  use  of  beginners.  In  this  book  1 
have  tried  to  make  the  directions  for  each  process  de- 
scribed as  simple  and  clear  as  possible ; the  paints  and 
other  materials  mentioned  can  be  procured  at  small  cost, 
and  the  use  of  them  acquired  by  practice  upon  designs 
made  expressly  for  beginners.  If  such  designs  are  em- 


OIL  AND  WATER-COLOR  PAINTING. 


21 


ployed,  and  the  directions  carefully  followed,  any  intelli- 
gent person  will  be  able,  not  only  to  make  at  first  very 
pretty  and  attractive  gifts  and  ornaments,  based  upon 
good  principles  of  art  and  taste,  but  she  will  find  herself 
growing  more  and  more  capable  of  more  difficult,  more 
elaborate,  and  more  individual  work. 


DRAWING. 


Materials  for  Drawing. 

Lead-Pencil,  Faber  No.  3.  A Measuring  Card  or  Rule. 
Block  of  Log-Paper.  India-Rubber. 

Although  the  larger  number  of  those  who  consult  this 
book  for  instruction  will  rely  upon  some  mechanical 
method  for  reproducing  the  outlines  of  the  design  which 
they  desire  to  paint,  simple  instructions  for  which  are 
given  on  another  page,  there  undoubtedly  will  be  some 
among  our  readers  who  will  wish  to  learn  how  to  draw,  so 
that  they  may  make  their  own  designs.  To  those  we  will 
say  that  any  one  who  can  learn  to  write  can  learn  to  draw, 
— mind,  we  say  learn:  that  does  not  mean  that  it  can  be 
done  by  being  told  how,  any  more  than  one  can  learn  to 
write  by  being  told  how. 


24 


CHAPTER  II. 

DRAWING. 

As  I am  not  endeavoring,  in  this  book,  to  instruct 
students  who  are  proposing  to  themselves  to  become 
artists,  with  the  hope  of  making  it  their  life-work  and 
attain  thereby  not  only  fame  and  success,  but  the  satisfac- 
tion of  developing  to  the  utmost  the  powers  and  capa- 
cities of  their  nature,  I shall  not  undertake  to  give  much 
space  to  the  subject  of  drawing.  But  I cannot  properly 
omit  saying  that  accurate  drawing  is  the  foundation  and 
basis  of  all  good  work  in  decoration,  which  is  the  subject 


SELF-INS T R UCTIVE  LESSONS. 


26 


of  this  text  work,  just  as  much  as  in  all  the  higher  forms  of 
art.  I do  not  mean,  by  this,  to  condemn  amateur  work,  or 
to  deter  beginners  from  trying  to  sell  their  productions, 
but  only  to  induce  them  to  fix  before  themselves  the  idea 
of  accuracy  as  indispensable.  It  may  be  attained  by  any 
industrious  beginner,  for  accuracy  is  the  reward  of  perse- 
verance rather  than  the  gift  of  inspiration.  The  reason 
that  so  much  of  the  amateur  work  which  stares  us  in 
the  face  in  many  a shop  window  is  hopelessly  bad,  and, 
with  justice,  hopelessly  unsalable,  is  that  it  is  not  based 
upon  any  principles  of  accurate  drawing.  The  reason 
that  a great  deal  of  such  work,  almost  as  bad,  does  sell 
is,  alas ! that  the  eye  of  the  purchaser  is  as  little  trained 
in  good  drawing  and  design;  so  that,  tempted  probably 
by  a price  below  the  merits  of  the  material  and  the  time 
spent  upon  ornamenting  it,  but  far  above  the  artistic 
worth  of  the  work,  she  takes  it  home,  perhaps  to  inflict  it 
as  a gift  upon  some  “artistic”  friend,  perhaps  to  make 
sad  the  lives  of  her  family  by  a constant  sight  of  an  im- 
perfect piece  of  work. 

It  may  be  that  such  things  are  bought  from  compassion 
for  the  maker,  who,  in  need  of  money,  with  praiseworthy 
intent,  is  seeking  to  earn  it  by  her  brush.  It  seems  severe 
to  say  it,  but  it  is  all  wrong  to  mix  up  charity  with 
patronage  of  art  in  this  way.  A first-rate  piece  of  dec- 
orated work,  either  embroidered  or  painted,  commands 
a high  price  in  the  market,  and  with  justice,  as  the  result 
of  natural  talent  and  taste,  joined  with  long  practice,  and 
money  spent  in  lessons.  Poor  imitated  work,  carelessly 
done  by  women  of  little  talent  and  no  practice,  snatching 


OIL  AND  WATER-COLOR  PAINTING. 


27 


a few  second-rate  ideas  from  second-hand  work,  floods  the 
market  and  lowers  the  standard  of  excellence,  bringing 
disrepute  upon  the  whole  class  of  objects  imitated.  A 
striking  example  of  this  is  flower  painting,  which  is  and 
should  be  a favorite  style  with  all  classes  of  artists;  one  of 
the  most  exquisite,  natural,  and  attractive  branches  of  art ; 
one  which  the  greatest  masters  have  not  disdained. 
Because  so  many  women  think  that  “ flowers  are  easy,” 
the  whole  subject  has  become  degraded,  and  it  is  the 
commonest  expression,  “ I hate  flower  painting ! ” or  “ I 
don't  want  to  learn  to  paint  flowers,”  as  if  the  poor  things 
themselves  were  lowered  to  the  rank  of  turnips  and 
potatoes,  beneath  the  notice  of  art.  The  fact  is,  that 
flowers  are  extremely  difficult  to  paint;  it  may  be  said 
indeed,  that  it  is  impossible  to  paint  roses ; but  we  shall 
always  be  attempting,  to  give  something  of  their  charm. 
It  is  hard  that  the  flowers  themselves  should  be  held 
responsible  for  the  feeble  failures  of  amateurs  to  represent 
them.  The  only  thing  that  is  “ easy  ” about  flowers  is 
their  accessibility.  It  is  almost  always  possible  to  have 
some  as  studies ; but  they  droop  so  soon  that  the  subject, 
even  well  arranged,  is  constantly  changing,  and  by  the 
time  the  composition  is  well  drawn  in,  it  is  entirely 
altered.  The  roses  and  most  of  the  hot-house  flowers  at 
hand  in  winter  are  most  complex  in  form  and  delicate  in 
coloring ; there  are  but  a few  large  simple  ones,  such  as 
lend  themselves  best  to  flat  decorations. 

Nevertheless  as  they  are,  on  the  whole,  so  well  adapted 
for  decoration,  I shall,  in  the  directions  in  this  text-work, 
speak  of  petals  and  leaves  as  if  these  were  the  objects  in 


28 


SELF-INS TR  UC TI VE  LESS ONS. 


hand,  giving,  however,  suggestions  as  to  other  things  which 
may  be  used  instead  of  designs. 

To  avoid  the  difficulty  of  the  pronouns  “ he  ” and  “she,” 
I am  going  to  take  it  for  granted  that  my  readers  are 
women ; for,  to  be  sure,  they  will  be  for  the  most  part, 
since  our  sex  is  still  the  one  most  at  leisure  for  amateur 
work,  and  most  likely  to  try  to  pick  up  an  honest  penny 
by  art  decoration.  It  is  precisely  that  the  penny  so 
acquired  may  be  honest  that  I am  writing  this  book,  in  the 
hope  that  it  may  encourage  women  to  good,  earnest,  ori- 
ginal work  based  on  faithful  drawing  of  worthy  designs.  I 
must  explain  my  use  of  the  word  “original,”  lest  it  shall  be 
taken  to  mean  a vague  creation  of  objects  purely  out  of 
your  heads,  seen  nowhere  in  the  heavens,  or  earth,  or  waters 
under  the  earth.  I consider  that  it  is  not  original  to  “do  ” 
a golden-rod  on  a black  panel  of  a certain  width  and 
height,  because  another  girl  has  done  one  and  it  was  “real 
pretty,”  even  if  you  make  your  own  design  for  your 
golden-rod  out  of  your  head,  with  a vague  recollection 
that  golden-rods  are  yellow  and  Huffy  and  stiff,  rather  bend- 
ing over  at  the  top.  It  would  be  original,  if  you  wanted 
to  “ do  ” a golden-rod  on  a black  panel,  to  spend  all  your 
spare  time  in  August  in  studying  golden-rods ; in  noting 
the  small  differences  in  the  sixty-nine  varieties ; in  observ- 
ing their  manner  of  growth,  and  deciding  which  one 
would  suit  best  a long,  thin  panel;  in  discovering  how  the 
little  pale-yellow  butterflies  that  come  and  sit  on  them 
help  along  the  color,  and  how  harmonious  the  purple-brown 
tints  of  the  fading  flowers  are  with  the  still  brilliant  yel- 
lows of  later  blossoms.  I do  not  expect  you  to  be  as 


OIL  AND  WATER-COLOR  PAINTING. 


29 


original  as  this  for  the  sake  of  one  panel ; but,  if  you 
mean  to  decorate  much,  the  best  thing  you  can  do  is  to 
study  and  paint  flowers  all  summer,  so  as  to  begin  the 
winter  with  a portfolio  full  of  subjects  for  design.  But 
before  doing  this,  or  without  doing  it,  you  may  decorate 
with  charming  effect  by  using  patterns  and  designs  already 
drawn  for  you,  and  furnished  to  your  hands. 

You  can  teach  yourselves  to  draw,  if  you  are  in  earnest. 
The  chief  merit  of  taking  lessons  is  to  have  a teacher  at 
your  elbow  to  urge  you  along,  and  the  additional  stimulus 
that  while  you  are  paying  for  the  lessons  you  had  better 
have  the  good  of  them.  Of  course,  if  you  are  taking  les- 
sons merely  to  fill  up  the  time,  and  do  what  the  rest  are  do- 
ing, you  may  not  make  much  progress  even  then ; but  if  you 
are  in  earnest,  you  may  do  great  things  without  a teacher. 

There  is  an  impression  that  drawing  from  flat  copies 
does  no  good;  but  I am  convinced  that  it  is  the  best  way 
to  begin.  There  are  two  ways  of  drawing  everything; 
viz.,  a right  way  and  a wrong  way.  If  you  will  insist  upon 
beginning  in  the  wrong  way,  and  persist  in  going  on  so, 
yon  never  will  learn  to  draw,  so  it  is  better  to  begin  in  the 
right  way.  It  is  possible  to  spend  years  drawing  from  flat 
copies,  and  to  become  very  skilful  at  it,  without  making* 
the  least  real  progress  in  drawing ; but  there  is  no  occa- 
sion to  acquire  the  habit  of  doing  it  in  this  useless  manner. 
You  should  never  suffer  yourself  to  copy  mechanically, 
with  eye  and  hand  alone,  your  mind  wandering  elsewhere, 
planning  a new  bonnet,  reckoning  up  your  accounts,  think- 
ing of  anything  or  everything  rather  than  of  the  work 
before  you. 


30 


SELF-INS TR  UC T1 VE  LESSONS. 


Take  this  simple  outline  of  a sweet  violet  from  Series 
V.,  Tilton's  Outline  Design-Cards,  Studies  of  Flowers 
from  Nature,  consisting  of,  1.  Yellow  Oxalis ; 2.  Pansy; 
3.  Sweet  Violet ; 4.  China  Pink  ; 5.  Tulip ; 6.  Cyclamen. 
These  designs  are  drawn  true  to  nature,  as  studies  for 
dower  painting.  Mr.  Tilton  has  plenty  of  others  which 
will  answer  just  as  well.  If  you  are  pretty  clever,  you 
will  soon  produce  a copy  like  this,  which  will  look  quite 
a good  deal  like  the  subject,  without  having  the  slightest 
merit. 

In  the  first  place,  establish  yourself  in  a window  where 
there  is  no  sun  shining  in  (a  north  light  is  best),  and 
where  there  is  no  cross  light  from  some  other  window  to 
dazzle  your  eyes  and  confuse  the  shadows  on  yOur  future 
work.  See  if  you  cannot  have  a little  table,  with  a 
drawer,  in  this  same  place,  to  keep  your  materials  all  to- 
gether on  and  in,  and  try  not  to  be  interrupted  for  a 
couple  of  hours.  This,  I know,  is  the  hardest  part  with 
us  women,  but  you  had  better  try  for  it. 

Any  paper  will  answer  for  this  drawing;  but,  if  you 
think  you  can  make  it  look  well  enough  to  paint  later  on, 
have  a block  of  good  drawing  paper.  Paper  is  made  ex- 
pressly for  water  colors,  known  as  “ Whatman’s  paper.” 
It  costs  more  than  ordinary  paper,  and  is  not  necessary 
for  beginners.  Mr.  Tilton’s  blocks  of  log  paper  are  just 
the  size  for  this  practice,  and  may  be  had  at  a lower 
price. 

Mark  out  on  the  paper  a space  just  the  size  of  the  card 
you  are  copying  from.  In  all  decorations  the  spaces  out- 


OIL  AND  WATER-COLOR  PAINTING. 


31 


OIL  AND  WATER-COLOR  PAINTING. 


33 


side  the  design,  and  the  sides  of  the  thing  it  is  done  on, 
are  just  as  much  a part  of  the  design  as  the  petals  and 
stem  of  the  flower. 

Have  a visiting  card  or  old  post-card  to  measure  with, 
and  do  not  disdain  to  measure  all  the  time ; but  do  it  in 
the  right  way,  according  to  my  directions  here  given. 

Put  a dot  on  your  paper  where  you  think,  judging  by 
your  eye,  the  top  of  the  upper  violet  is.  Now  measure  the 
distances  AB  and  AC,  from  the  edge  of  the  copy  to  this 
point,  and  see  if  your  distances  are  like  them.  These 
distances  must  be  parallel  with  one  side  of  the  picture  and 
at  right  angles  from  the  other.  Very  well,  if  your  dot  is 
right ; if  not,  rub  it  out,  and  put  it  right.  Now  make  a dot 
on  your  paper  at  D,  for  the  centre  of  the  violet.  Do  not 
make  it  till  you  have  observed,  by  your  eye,  carefully  where 
it  should  be ; i.  e.,  below  A,  but  a little  to  the  right  of  it,  at 
a distance  somewhat  longer  than  AB.  After  you  put  the 
dot  at  D,  measure  on  the  copy  the  distance  AD,  and  see 
if  you  have  it  right,  and  see  if  the  measuring  card  slants 
on  yours  just  as  it  does  on  the  copy.  If  not,  alter  your 
dot.  To  test  the  right  position  of  your  dot,  take  the 
measure  on  the  copy  of  ED  to  the  edge,  and  see  if  it  cor- 
responds with  yours.  Put  a dot  at  H,  where  you  think  the 
widest  part  of  the  upper  left-hand  petal  is.  Be  half  an 
hour,  if  necessary,  in  establishing  these  points,  in  order  to 
start  well. 

Now  I think  you  can  draw  the  lines  of  the  two  upper 
petals  by  your  eye  by  first  making  AHD,  then  putting  a 
dot  for  F,  a little  lower  than  A,  then  a dot  for  G where 
the  widest  part  of  the  right-hand  petal  seems  to  you  to 


34 


SELF-INSTRUCTIVE  LESSONS. 


be,  then  draw  FGD.  When  these  two  upper  petals  are 
done,  measure  your  distance  HG,  and  see  if  it  corresponds 
with  the  right  HG.  [Do  not  put  on  your  work  the  dotted 
lines  that  connect  the  letters,  they  are  here  only  to  show 
what  I mean.]  HG  is  a very  little  shorter  than  AD,  just 
as  AD  is  a little  longer  than  BA.  To  make  sure,  measure 
to  see  if  you  have  the  distance  GI  the  same  as  ED.  In 
measuring,  put  the  left-hand  side  of  your  card  close  to  the 
left-hand  margin  of  your  drawing,  and  of  the  copy,  as 
these  horizontal  distances  are  at  right  angles  with  the  up- 
right side,  and  the  well-cut  corner  of  your  measuring 
card  will  ensure  accuracy  in  this  respect.  This  is  to  train 
your  eye  to  recognize  horizontal  lines  and  distances,  and 
also  vertical  ones.  Accuracy  in  drawing  is  got  by  noting 
how  points  vary  from  these  two  directions.  You  can  finish 
the  upper  flower  now,  making  your  own  dots  and  deciding 
upon  their  distances.  Always  draw  a flower  with  regard 
to  its  central  point  [marked  D in  this  instance],  that  is, 
put  dots  for  J,  K,  and  L,  by  first  judging  and  then  testing 
by  measure  their  distance  from  D,  and  the  direction  of 
slant  they  have  to  take  to  reach  it.  When  the  upper 
flower  is  drawn,  sit  up  and  look  at  it  Does  it  look 
twisted?  It  is  because  3^011  have  put  J and  K too  high  up. 
K should  be  almost  directly  under  A,  the  least  bit  to  the 
left,  as  you  can  prove  by  laying  your  measuring  card  upon 
those  two  points. 

I have  said  enough  to  give  an  idea  of  the  process.  Yon 
may  go  on  and  draw  the  whole,  but  with  the  same  caution. 
Never  make  an  outline  until  you  have  decided  with  your 
eye,  and  settled  with  a dot,  its  destination.  With  your 


OIL  AND  WATER-COLOR  PAINTING. 


35 


eye  you  can  certainly  judge  the  short  distances, — as,  for 
instance,  that  between  L and  the  adjacent  green  leaf. 
Remember  that  there  are  two  things  to  be  thought  of  in 
deciding  where  to  put  your  dot : 

1.  The  distance  off  from  the  point  nearest  it  which  is 
already  drawn 

2.  The  direction  from  that  point ; i.  e.,  the  “ slant  ” dif- 
fering from  perpendicular  or  horizontal.  You  can  tell  this 
surely  by  your  eye  For  instance,  as  before,  D is  below 
A,  but  a little  out  of  the  perpendicular.  If  you  put  the 
corner  of  your  measuring  card  at  B,  over  the  left  side  of 
your  copy,  you  must  see  exactly  in  what  direction  the  line 
A slants;  the  distance  you  get  by  comparing  AD  with  AB 
with  your  eye,  and  seeing  it  is  a little  longer. 

Make  the  lines  nearest  those  already  secure  first.  Do 
not  think,  for  instance,  of  continuing  the  stem  of  the 
upper  flower  down  to  the  lower  leaves  until  you  have 
drawn  the  whole  of  the  left-hand  sideways  flower.  When 
this  flower  is  drawn,  you  will  see  that  M,  where  several 
stems  meet,  is  on  a line  with  the  bottom  of  its  lowest 
flower,  at  right  angles  with  the  side.  A dot  there,  pre- 
cisely under  F,  for  which  you  can  establish  the  place  by  a 
vertical  line  on  the  side  of  your  measuring  card,  at  right 
angles  (decided  by  the  corner  of  the  card)  to  the  upper 
margin  of  the  design,  is  the  place  whence  this  upper  leaf 
springs  in  the  middle  of  the  little  triangle  where  the  three 
flower  stems  cross  each  other,  M. 

If  you  are  in  earnest,  you  will  be  willing  to  follow  this 
detail,  and  will  readily  grasp  it.  You  will  be  rewarded  by 
a copy  as  accurate  as  if  it  were  traced,  with  some  knowl- 


36 


SELF-INS TR  UC TI VE  LESSONS. 


edge  added  of  the  way  stems  and  leaves  group  them- 
selves. 

Do  not  attempt  "graceful  " curves  in  connecting  your 
dots  with  the  lines  of  the  drawing.  If  you  put  dots 
enough,  direct  lines  between  them  will  give  the  character 
of  the  outline  better  than  random  curved  lines,  and  after 
you  are  used  to  good  work,  you  will  agree  with  me  that 
such  ill-directed  curves  are  not  graceful,  but  disgraceful. 


DRAWING 


{CONTINUED). 


CHAPTER  III. 

©RAWING  (continued). 

You  will  find,  when  you  have  once  acquired  the  prac- 
tice of  copying  by  putting  dots  at  every  point  before 
drawing  the  line  required,  that  it  becomes  a sort  of  second 
nature,  and  that  you  are  almost  mechanically,  while 
rapidly,  deciding  by  the  eye  where  the  dot  should  be,  and 
adding  the  connecting  line  between  that  and  what  was 
drawn  before.  At  the  risk  of  too  much  repeating,  I must 
try  to  make  you  see  the  difference  between  this  method, 
and  that  of  measuring  off  on  your  copy  the  distances,  and 
transferring  these  to  your  own  work.  A clever  girl  can 
cheat  her  teacher  and  herself  by  working  in  this  way,  but 
it  is  a mere  waste  of  time,  for  after  any  length  of  time 
spent  in  such  drawing  she  will  be  less  capable  of  making 


40 


SELF-INS  TR  UC.  TI VE  LESSONS. 


an  accurate  copy  without  such  measuring  than  at  first. 
There  are  but  few  occasions  where  such  copying  by  direct 
measure  can  be  used,  and  it  is,  at  the  best,  a tedious 
process ; whereas,  by  the  use  of  judgment  in  putting  the 
dots,  and  then  proving  them  by  measurement,  the  eye  is 
trained  so  that  it  soon  judges  accurately,  and  you  will  find 
that  in  time  you  will  arrive  at  always  trusting  your  eye, 
as  the  measuring  will  prove. 

To  make  sure  that  you  are  making  progress,  the  next 
step  is  to  draw  on  a different  scale  from  the  design,  — J 
mean,  to  make  your  copy  larger  or  smaller  than  the  subject. 
If  you  have  been  measuring  first,  and  accepting  the  meas- 
urements without  exercising  any  judgment,  you  will  now 
find  yourself  all  at  sea ; if,  on  the  other  hand,  you  have 
been  conscientiously  deciding  your  own  distances,  you 
will  soon  lie  able  to  enlarge  or  reduce  any  pattern  at  will, 
and  this  is  quite  necessary  in  decoration,  rvhere  it  is  some- 
times best  to  adapt  the  dimensions  of  flowers  or  other 
objects  to  the  space  they  are  to  occupy,  without  regard  to 
their  size  in  nature. 

Rule  upon  your  block  of  drawing  paper  a space  with 
lines  6 X 4|-  inches,  making  sure  that  the  corners  are 
right  angles.  A tin  ruler  is  a good  thing  to  have,  accu- 
rately cut  at  the  corners,  that  they  may  Vie  used  to  make 
right  angles,  and  marked  off  with  inches.  Down  in  the 
left  hand  corner  of  this  ruled  space  mark  off  an  inch  and  a 
half,  and  divide  it  into  halves,  and  that  half  again  into 
halves,  as  I have  done  in  the  corner  of  the  sweet  violet 
pattern,  which  we  will  use  again  for  the  enlarging  process. 
T call  this  little  marked-off  place  our  scale  of  measurement . 
Do  not,  after  this,  worry  your  mind  with  thinking  of 


OIL  AND  WATER-COLOR  PAINTING. 


41 


inches  and  half  inches,  they  have  nothing  further  to  do 
with  this  drawing,  which  is  a matter  of  proportion,  not 
literal  measurement. 

Compare  (with  your  measuring  card)  our  old  friend, 
the  distance  BA,  with  the  scale  of  measurement.  It  first 
matches  the  half,  does  it  not  ? Try  CA : it  is  the  whole 
scale,  and  a quarter  more.  Very  well,  put  your  first  dot, 
for  the  top  of  the  upper  flower,  on  your  own  paper  in  the 
place  which,  by  your  own  scale,  is  half  the  length  of  it 
down  from  your  top  line,  and  one  and  one  fourth  from  the 
left-hand  line.  Here  is  the  place  to  begin  your  drawing. 
Measure  on  the  copy  AD,  and  compare  it  with  the  scale 
in  the  corner.  Notice  how  much  more  than  half  the  scale 
it  is,  and  by  your  own  scale,  and  that  more  in  proportion 
(about  one  eighth),  decide  where  to  put  a dot  for  D,  put- 
ting it  not  directly  under  A,  but,  as  before,  somewhat  to  the 
right,  so  that  the  line  (if  there  were  one)  between  them 
should  slant  just  as  much  and  no  more  than  the  line  in 
the  copy.  Go  on  as  before,  judging  the  distances  by  your 
eye,  and  proving  them  on  the  scale : you  see  the  propor- 
tions are  the  same,  though  the  actual  distances  are  differ- 
ent. Thus  the  distance  between  A and  F is  about  one 
fourth  of  your  scale,  and  F must  be  a little  lower,  hori- 
zontally, than  A ; DL  is  about  one  half  the  scale,  and  so 
is  GL.  Go  on  now  with  the  work  in  this  way.  It  is  the 
same  as  the  first  lesson.  You  have  still  to  judge  by  your 
eye  (1)  of  the  direction  (out  of  perpendicular  and  verti- 
cal) of  each  new  point ; this,  of  course,  is  the  same 
whatever  the  size ; (2)  the  distance  which  must  be  com- 
pared with  the  scale  of  the  copy,  and  then  with  your  own 


42 


SELF-INS TR  UCT1 VE  LESSONS. 


scale  iii  the  corner  of  your  own  work,  before  putting  the 
dot  which  decides  its  position. 

I use  the  word  “about,”  not  to  encourage  inaccuracy, 
but  greater  watchfulness  of  eye.  Do  not  be  discouraged 
if  you  do  not  grasp  my  idea  at  first ; I have  explained  it 
sometimes  to  a girl  all  winter  long,  and  discovered  late  in 
the  spring  that  she  had  no  notion  of  it,  but  if  you  put 
your  whole  mind  to  it  right  off  you  can  master  it,  and  it 
is  worth  while  to  thoroughly  understand  it,  and  work  by 
it,  for  the  principle  is  at  the  base  of  all  good  drawing. 
When  von  come  to  draw  from  real  objects,  you  must  use 
this  scale  of  measurement,  for  you  cannot  put  measuring 
cards  across  real  violets,  even  if  you  are  drawing  life-size ; 
in  drawing  from  objects  it  is  far  better  to  rely  on  a scale 
than  on  actual  measurements  ; and  in  drawing  from  life  — 
1 mean  figures — you  generally  are  drawing  smaller  than 
life,  so  that  you  cannot  use  direct  measurements. 

When  the  drawing  is  well  started,  with  one  violet,  for 
instance,  drawn  in  upon  the  new  scale,  you  will  be  sur- 
prised to  find  how  your  eye  reconciles  itself  to  the  new  pro- 
portions, and  you  will  soon  be  putting  your  dots  in  their 
proper  places  without  stopping  to  measure  once.  But  test 
their  accuracy  from  time  to  time,  or  you  may  find  yourself 
at  the  bottom  of  the  paper  with  no  room  for  stems  and 
leaves,  or  overflowing  the  right-hand  margin  with  the 
petals  of  the  bud.  Do  not  neglect  the  dots.  Never  start 
upon  drawing  a line  without  clearly  defining  (with  a dot) 
the  direction  and  limit  of  it,  and  then  put  it  in  with  a 
firm  stroke,  as  decided  at  its  end  as  at  its  beginning. 
Scratching,  tapering  strokes,  aimed  nowhere,  and  turning 
u])  anywhere,  patched  and  joined  with  others  equally 


OIL  AND  WATER-COLOR  PAINTING. 


43 


vague,  are  sure  signs  of  want  of  purpose.  You  must,  know 
first  what  you  want  to  do  every  time  you  make  a stroke 
with  pencil  or  brush,  or  it  will  not  help  your  work.  There 
is  no  luck  in  good  drawing  or  painting,  though  amateurs 
go  on  scratch-scratching,  or  dab-dabbing  away,  hoping 
that  some  miracle  will  influence  the  results.  So  a fly, 
fished  out  of  an  inkstand,  runs  about,  leaving  traces  of 
his  passage  all  over  a sheet  of  paper ; the  marks  he  makes 
may  be  interesting,  but  do  not  form  a picture. 

When  you  have  finished  the  enlarged  violet,  which  will 
look  gigantic,  but,  I dare  say,  effective  for  decoration, 
you  may  try  one  smaller  than  the  copy,  or  any  size  you 
like,  taking  care  to  have  it  different  from  that  of  the  sub- 
ject. The  proportions  of  the  enclosing  space  should  be 
three  one  way  and  four  the  other,  that  is,  the  scale  in  the 
left-hand  lower  corner  is  one  third  of  the  bottom  line 
(also  of  the  top  line,  which  is  the  same  length,  of  course). 
The  side  is  four  times  as  long  as  the  scale,  making  the 
enclosure  one  fourth  longer  than  it  is  wide,  or,  as  1 have 
just  said,  it  is  three  one  way  and  four  the  other.  Any  of 
the  six  flower  designs  of  Tilton’s  Series  No.  5 are  very 
good  for  practice  in  this  careful  drawing,  and,  as  they  are 
suitable  for  decoration,  you  will  do  well  to  practise  upon 
them  all,  enlarging  and  reducing  the  design  of  each,  for 
you  will  then  have  on  hand  the  beginning  of  a collection 
of  designs  ready  for  use  in  future  decoration  in  any  of  the 
various  methods  b}r  and  by  described  in  this  book.  For, 
though  in  the  chapter  on  design,  1 am  going  to  recom- 
mend the  selection  of  good  subjects  wherever  you  can  find 
them,  rather  than  relying  upon  your  own  imagination 
to  invent  them,  you  cannot  go  far  without  the  power  of 


44 


SELF-IN STR  UCTIVE  LESSONS. 


copying  well  and  accurately  such  designs  as  please  you. 
All  the  artificial  methods  of  tracing  and  transferring  are 
less  efficient  in  the  hands  of  all  those  who  cannot,  by 
natural  gift  or  by  training,  draw  at  least  a little.  It  is 
astonishing  how  bad  and  inaccurate  even  a tracing  can  be 
by  awkward  hands.  Paper  patterns,  made  by  cutting  out 
a shape  previously  laid  on  the  paper  and  marked  round, 
are  altered  by  carelessness  and  want  of  skill,  which  is  the 
reason  that  forms  transmitted  in  that  manner  become  in 
time  so  shapeless. 

However  mechanical  the  method  by  which  you  are 
transferring  a design,  do  not  lose  your  individual  sense  of 
the  nature  of  it.  Thus  there  are  several  things  to  be 
borne  in  mind  about  flower  designs. 

1.  Try  to  have  the  centre  of  a flower  in  the  middle  of 
it,  and  regard  each  petal  as  having  a middle  line  leading 
direct  to  the  centre  of  the  flower.  As  the  spokes  of  an 
umbrella  must  all  meet  in  the  converging  point,  every 
flower  has  secret  spokes  on  which  it  opens  and  shuts,  all 
converging  towards  . one  point  at  the  end  of  the  stem. 
Whether  the  flower  in  the  design  faces  you  or  is  turned 
sideways,  this  central  point  is  to  be  regarded  and  re- 
spected. Moreover,  it  is  from  this  point  that  the  stem 
springs,  and  although,  generally,  the  place  is  unseen 
behind  the  petals  of  the  flower,  it  must  appear  to  start 
right  by  the  direction  of  it  after  it  comes  to  view. 

2.  When  a stem  disappears  behind  a leaf,  take  care 
that  it  emerges  as  it  would  at  the  other  side,  and  do  not 
neglect  to  account  for  all  the  stems  of  each  flower  or  leaf 
in  the  group. 


OIL  AND  WATER-COLOR  PAINTING. 


45 


3.  Leaves  also  have  their  spokes,  or  back-bones,  and 
most  leaves  are  so  folded  in  the  bud  that  they  retain  all 
their  lives  an  appearance  of  having  been  creased  down 
the  middle.  Bear  this  in  mind  as  you  indicate  these 
markings,  which  I call  construction  lines. 

4.  Both  flowers  and  leaves  are,  by  nature,  symmetrical, 
and  it  does  not  answer  to  pervert  this  symmetry  much. 
When  a flower  or  leaf  faces  you  in  the  design,  keep  the 
petals  of  equal  length,  and  the  halves  of  the  leaf  equal ; 
when  it  is  turned  away,  or  fore-shortened,  make  the  pro- 
portions still  appear  to  be  symmetrical,  only  influenced  by 
the  position. 

It  will  help  you  very  much  in  drawing,  and  in  selecting' 
your  designs,  to  examine  real  flowers,  especially  our  wild 
flowers,  which,  for  the  most  part,  are  simply  made,  in  order 
to  be  familiar  with  their  construction,  and  to  avoid  such 
mistakes  as  painting  a single  rose  with  six  petals  and 
a lily  with  five  flower-leaves.  In  order  to  make  your  own 
designs,  this  is  of  the  highest  importance,  and  a little 
knowledge  of  the  pleasant  science  of  botany  is  quite  de- 
sirable. By  thoughtfully  turning  over  the  leaves  of  “How 
Plants  Grow,”  by  Professor  Gray,  you  will  receive  good 
ideas  of  the  forms  of  petals,  which  will  help  the  training 
of  your  eye,  and  prevent  your  painting  them  much  out  of 
shape.  And  if  you  will  look  at  the  next  bunch  of  flowers 
that  comes  to  you,  you  will  like  to  notice  the  invisible 
spokes  that  open  and  shut  the  corolla,  like  a floral  parasol, 
and  the  back-bone  of  the  leaf  along  which  it  was  folded  in 
the  early  spring  before  it  spread  itself  out  to  sunshine. 


! 


DESIGN. 


CHAPTER  IV. 

DESIGN. 

It  is  just  as  important  to  understand  the  laws  of  design, 
in  order  to  select  good  designs  for  decoration,  as  it  is 
to  make  them ; therefore  it  is  impossible  to  escape  some 
study  of  the  subject.  The  failure  to  please,  in  many 
amateur  efforts,  is  due  to  the  selection  of  some  improper 
or  uninteresting  subject,  rather  than  to  the  feebleness  of 
its  execution,  and  this  selection  is  often  merely  a weak 
imitation  of  something  previously  attempted,  rather  than  a 
good  healthy  exercise  of  individual  taste.  i 1 

I use  the  word  “ design  ” in  its  more  modern  accep- 
tation, simply  as  more  definite  and  convenient  than 
“pattern”  or  “copy.”  The  word  “design,”  in  Addison’s 


50 


SELF-INS TH UC TI  VE  LESSONS. 


time,  meant  the  idea  which  an  artist  endeavors  to 
execute  or  express;”  but  it  has  now  come  to  imply  fur- 
ther the  embodiment  of  that  idea  upon  paper,  outlined 
so  that  it  may  be  more  fully  carried  out  by  the  artist 
himself,  or  some  other  worker. 

There  are  three  kinds  of  designs  which  may  be  adopted 
for  decoration,  which  are  these: 

1.  Designs  of  pure  invention,  imagined,  and  not  imita- 
ted from  any  tiling  in  nature. 

2.  Designs  directly  imitated  from  nature,  in  which  the 
subject  followed  is  closely  copied  both  in  design  and 
coloring. 

i.  “■Conventional"  designs,  by  which  natural  objects 
are  “ generalized  ” and  taken  as  types  both  in  form  and 
c<  during. 

These  three  ways  of  decorating  are  all  good,  each  being- 
more  or  less  suitable  to  the  various  occasions  for  which 
they  may  be  used.  The  first,  designs  of  pure  invention, 
are  those  geometrical  combinations  of  curves  and  lines, 
including  what  are  often  called  arabesques,  because  so 
many  of  them  are  found  in  Arab  or  Moorish  ornament. 
The  Mohammedans,  who  carried  graceful  ornament  so  far, 
considered  themselves  forbidden  by  the  Koran  to  depict 
the  forms  of  created  things,  and  so  had  to  expend  their 
oriental,  rich  fancy  upon  invented  forms  ; for  while  flowers 
came  not  under  the  prohibition,  they  lent  themselves 
readily  to  geometric  combinations.  Hence  came  their 
wonderful  rose-work,  based  upon  the  geometrical  forms  of 
the  triangle,  square,  pentagon,  and  circle.  The  variations 
wonderful  in  these  forms  are  innumerable,  effecting  the 


OIL  AND  WATER-COLOR  PAINTING. 


51 


most  intricate  interlacing  of  lines,  with  spaces  left  between 
them  for  fiat  color.  All  these  arabesques  are  good  for 
decoration,  and  may  be  directly  taken  from  books  con- 
taining them  with  good  effect  for  stencil  patterns,  and  the 
decoration  of  surfaces  requiring  straight  lines.  The  so- 
called  “Greek  patterns,”  too,  are  simply  geometric. 

It  may  be  said  pretty  safely  that  all  possible  combi- 
nations of  these  geometric  forms  are  already  discovered, 
and  therefore  to  be  found  in  books. 

The  second,  designs  imitated  directly  from  nature,  are, 
according  to  the  present  general  judgment,  better  adapted 
for  the  easel  than  for  decoration.  An  exquisite  study  in 
water-color  of  a mass  of  roses  should  be  put  under  glass, 
framed,  and  hung.  A portrait  is  a work  of  art.  You  do 
not  want  to  see  the  likeness  of  your  favorite  grandmother 
at  the  bottom  of  a saucer,  painted  on  china ; and  if  not  her 
image,  why  that  of  any  one  else  less  dear,  even  of  an  im- 
aginary shepherdess?  Realistic  figures  of  birds  and 
animals  lend  themselves  somewhat  better  to  decoration ; 
but  on  the  whole  it  is  conceded,  at  least  by  the  present 
fashion  of  taste,  that  the  Mohammedans  were  right  in  ex- 
cluding from  ornament  the  forms  accurately  presented  of 
created  things.  This  verdict  of  fashion  and  taste  is  what, 
perhaps,  has  brought  into  vogue  the  present  interest  of 
amateurs  in  decoration,  for  the  highest  inspiration  is  not 
required  to  execute  the  objects  appropriate  to  design. 
While  artists  devote  their  lives  to  the  perfection  of  skill  in 
painting  the  human  form  divine,  transferring  to  canvas 
the  charm  of  landscape,  and  imitating  as  far  as  possible 
the  exquisite  subtleties  of  color  and  form  displayed  in 


52 


SELF-INSTR  UCT1 VE  LESSONS. 


flowers,  decorators,  availing  themselves  in  some  measure 
of  the  same  skill,  and  helped  by  the  combinations  of 
geometric  forms  already  discovered  in  arabesques,  may 
accept  the  third  method,  conventional  ornament. 

This  term  has  been  a stumbling-block  to  beginners,  and 
there  has  been,  though  it  is  now  disappearing,  a feeling 
that  there  must  be  something  wrong,  a disloyalty  to 
nature,  in  diverting  natural  forms  to  the  uses  of  art.  But 
it  is  now  admitted  very  generally  that  nature  can  be 
better  honored  than  by  putting  all  sorts  of  natural  designs 
upon  surfaces  to  be  decorated.  It  is  hard  to  say  why  we 
are  tired  of  seeing  flowers  “ thrown  ” in  a realistic  manner 
across  any  piece  of  decoration,  but  it  certainly  is  the  case. 
Probably  it  is  because  it  has  been  so  often  badly  done.  A 
beautiful  bit  of  realistic  work  will  always  be  admired,  but 
we  must  regret  seeing  much  labor  and  time  spent  over 
work  upon  materials  subject  to  injury,  and  not  very  durable 
at  the  best.  On  the  other  hand,  realistic  work  crudely 
done  makes  us  wish  more  time  and  thought  had  been 
spent  upon  it  in  the  way  of  “ conventionalizing." 

A study  of  ancient  pottery,  middle-age  illuminations, 
and  old  tapestry  will  show  how  among  all  nations,  with 
the  progress  of  art,  conventional  forms  have  gradually 
developed  from  nature.  The  forms  of  leaves  and  petals 
being  geometrical  and  regular,  maybe  repeated  just  as  the 
simple  geometric  forms  of  triangles  and  circles  are  in 
arabesque.  These  forms  have  been  combined  to  make 
a consecutive  pattern,  first  complete  in  a certain  space,  and 
then  repeated,  if  need  be  for  long  lines  of  decoration. 
The  eye  is  certainly  pleased  by  a recurrence  of  forms 


OH : AND  WATBR-COLOli  PAINTING. 


53 


gracefully  arranged  in  the  first  place.  Think  of  a wall- 
paper, for  instance.  There  is  more  repose  in  the  recur- 
rence of  a pretty  design  at  certain  intervals  than  there 
would  be  if  all  the  flowers  of  the  field  were  turned  loose 
upon  the  sides  of  the  room.  One  merit  of  convention- 
ality is  that  it  restrains  the  redundance  of  untrained 
fancy,  compelling  a certain  exercise  of  thought  on  one 
simple  object. 

More  than  this,  the  strict  laws  of  decoration  exclude 
effects  of  light  and  shade,  for  these  imply  seeing  the 
subject  always  painted  in  one  light.  A picture  painted 
with  the  light  falling  upon  it  from  the  left  side  should 
always  be  seen  in  that  aspect.  Now  articles  that  are 
to  be  worn  are  constantly  changing  their  position.  If 
you  are  wearing  an  apron  painted  with  roses  in  high 
relief,  with  strong  lights  and  shadows,  you  must  sit  always 
in  a window,  probably  north,  with  lights  similar  to 
those  used  b}r  the  artist,  and  this  would  be  tedious. 
Screens  so  painted  would  have  to  be  always  on  one 
side  of  the  room,  and  so  on.  The  Japanese  fully  recognize 
this  law  of  decoration,  and  this  is  why  they  attempt  in 
decoration  no  such  effects  of  light  and  shade.  They  rely 
for  realism  — that  is,  for  making  their  subjects  look  like 
natural  objects  — on  the  delightful  accuracy  of  form  which 
characterizes  their  drawing;  but  their  spaces  are  all  flat  sur- 
faces, not  “shaded  ” as  we  say.  For  the  same  reason,  they 
attempt  little  in  perspective,  beyond  the  ripple  of  golden 
threads  for  waves,  and  the  like,  as  perspective  effects 
depend  upon  the  point  ox  view.  The  art  of  conventional- 
izing flower  designs  is  a pretty  one,  and  may  be  easily 


SELF-1  NS TJ! re'l  l I ’/•;  /.  ESSONS. 


54 

learned  with  the  proper  text-books.  Some  simple  sym- 
metrical flower  is  taken  as  a basis  and  drawn  flat  in  out- 
line as  it  would  appear  pressed,  seen  in  front,  also  in 
profile.  The  flat  form  of  the  leaf  is  also  drawn,  as  it  is 
shown  in  a perfect  specimen,  the  sides  being  the  same. 
These  details  are  then  combined  and  repeated  so  as  to 
agreeably  occupy  the  space  for  which  they  are  intended. 
The  art  is  to  impart  sufficient  grace  to  the  design  to  avoid 
stiffness,  without  losing  the  symmetrical  character  of 
the  parts. 

In  preparing  any  design,  "conventionalized"  or  not,  the 
first  care  should  be  to  decide  the  shape  and  size  of  the 
space  to  be  decorated,  but  more  especially  the  shape.  As 
1 have  said  before,  the  spaces  not  occupied  are  as  impor- 
tant as  the  forms  of  the  subject,  and  in  making  your 
design  you  must  think  of  things  that  will  prettily  till  the 
space,  without  leaving  too  much  margin,  or  too  little,  too 
much  or  too  little  interval  between  the  parts  of  the  design. 
The  illustrations  at  the  heads  of  these  chapters  will  show 
you  what  I mean.  The  proportion  of  thirds  is  always 
agreeable  to  the  eye;  thus,  a design  may  occupy  “about” 
two  thirds  of  the  allotted  space.  The  distance  between 
two  leaves  may  be  “about”  a third  of  the  width  of  one  of 
the  leaves,  &c.  If  the  rule  of  thirds  were  accurately  fol- 
lowed, it  would  give  an  air  of  geometric  stiffness  not  de- 
sirable ; but  with  the  qualification  “about,”  it  gives  enough 
variety  to  have  some  of  the  spaces  a little  more,  some  a 
little  less,  than  a third.  Do  not  leave  large  areas  of  uncov- 
ered space;  these  maybe  filled  or  broken  by  birds,  but- 
terflies, or  insects,  if  the  design  is  of  flowers.  A small  fly 


OIL  AND  WATER-COLOR  PAINTING. 


00 


will  till  up  a large  space  if  judiciously  placed,  as  we  all 
know  he  will,  on  a summer  day,  (ill  a whole  house  with 
injudicious  buzzing. 

The  eye  is  pleased  by  constant  changes  from  variety 
to  symmetry.  Too  much  symmetry  leads  to  stiffness, 
which  is  ugly;  too  much  variety  is  confusing  and  lacks 
repose. 

The  old  plan  was  to  put  a group  of  flowers  always 
in  the  middle  of  the  paper  on  which  it  was  painted. 
This  is  still  sometimes  well.  If  you  want  to  ensure  its 
being  in  the  middle,  make  the  distance  on  each  side  of 
the  design  the  same  ; that  is,  if  the  shortest  distance  of 
some  part  of  the  design  to  the  right  edge  is  just  the  same 
as  the  shortest  distance  on  the  left  side  to  the  edge,  it  is  in 
the  middle  ; the  same  at  the  top  and  bottom.  If  your 
work  professes  to  be  in  the  middle,  any  slight  deviation 
will  make  it  look  wrong;  for  this  reason,  when  you  do  not 
intend  it  to  be  in  the  middle,  put  it  well  in  the  corner, 
extending  either  over  about  two  thirds  of  the  space,  or  over 
a little  more  than  one  third,  with  some  detached  object 
to  break  the  empty  two  thirds.  Do  not  overcrowd 
the  space  you  are  decorating,  but  let  the  vacant  parts 
show  evidences  of  thought  and  consideration,  and  not 
look  as  if  left  to  chance. 


SELECTING  DESIGNS. 


To  produce  immediate  results  in  painting  without  first 
learning  how  to  draw,  will  require  a substitute  for  the 
knowledge  of  drawing.  This  may  be  found  in  the 
“ Transferring  Designs  ” referred  to  on  another  page. 
These  designs  are  intended  to  be  used  for  transferring  the 
outlines  of  a pattern  to  the  material  to  be  painted;  they 
will  not  be  exhausted  by  once  using,  but  may  be  dupli- 
cated a great  many  times.  They  will  not  only  serve  as  a 
substitute  for  a knowledge  of  drawing,  but  will  be  found 
equally  convenient  for  those  who  can  draw,  as,  after  the 
design  has  once  been  prepared,  it  will  require  but  a few 
seconds  of  time  to  reproduce  it  on  any  material,  and  repeat 
the  process  as  many  times  as  desired.  After  the  outlines 
of  a design  have  been  fixed  on  the  material,  a very  slight 
familiarity  with  colors  will  enable  those  who  have  not 
made  art  a study  to  produce  creditable  results. 


58 


CHAPTER  V. 

SELECTING  DESIGNS. 

I cannot,  in  this  little  book,  go  further  into  the  subject 
of  preparing  designs  from  natural  objects.  My  intention 
is  rather  to  lead  you  to  good  selection  than  to  teach  how- 
to make  designs,  although  I hope  you  will  learn  in  time 
to  do  so.  There  are  now  so  many  good  patterns  offered 
for  use  that  it  is  by  no  means  necessary  to  make  your 
own,  and  you  had  better  rather  forego  the  glory  of  having 
originated  a design,  w ith  the  danger  of  making  a poor 
one  from  want  of  knowledge,  to  devote  yourself  to  the 
good  execution  of  one  you  have  selected. 

In  selecting  a design,  do  not,  1 must  repeat,  choose  a 
subject  because  you  “saw  one  just  like  it  that  w^as  ‘ sw^eel 


60 


SELF-INSTRUCTIVE  LESSONS. 


pretty.’  ” I want  you  to  begin  farther  back.  Let  us  start 
at  the  very  root  of  the  matter. 

In  the  first  place,  you  want  to  make  a Christmas 
present.  I am  tempted  to  go  still  further,  and  ask  why 
you  want  to  make  it.  I hope  it  is  not  because  ‘she  gave 
you  one  last  year.’  This  is  the  worst  possible  reason,  lead- 
ing to  the  corruption  of  the  pretty  practice,  to  dreadful 
lists  of  perfunctory  gifts,  and  general  misery  all  round. 
Make  your  present  because  you  love  your  friend,  and 
want  to  express  that  feeling  by  some  slight  sacrifice  of 
time  and  trouble,  and  exercise  of  taste.  As  for  the  money 
value  of  the  gift,  it  is  a question  entirely  apart  from  the 
subject.  Very  well,  then  ; you  really  want  to  make  your 
friend  a present,  and  luckily  there  is  a space  in  her  parlor 
not  yet  decorated.  1 will  not  here  pretend  to  say  what  it 
is,  but  hope  you  will  try  not  to  make  her  a fire-screen  if 
she  has  already  six. 

Secretly  discover  the  exact  size  of  the  place  to  be 
decorated,  if  it  is  a panel  to  be  inserted,  or  the  proper 
dimensions  of  the  table-cloth,  lambrequin,  or  what-not,  and 
upon  these  consider  the  size  and  shape  of  the  space  to  be 
decorated,  and  then  search  for  something  which  is  just 
suitable  for  that  space.  There  are  tall,  slender  subjects 
good  for  upright  panels,  — a continuous  conventional  pat- 
tern is  suited  to  a long  surface.  Your  mind,  if  you  deco- 
rate much,  and  are  familiar  with  many  designs,  will  get 
the  habit,  when  you  see  an  empty  space  anywhere,  of  sug- 
gesting just  the  right  design  for  it.  The  form  of  the  de- 
sign should  be  adapted  to  the  place  it  should  occupy.  It 
seems  foolish  to  say  this,  yet  I have  seen  many  bits  of 


OIL  AND  WATER-COLOR  PAINTING. 


61 


decoration  in  which  it  has  apparently  been  wholly  disre- 
garded. 

The  space  to  be  decorated,  I repeat,  should  be  well  filled, 
without  much  margin,  so  to  speak,  left  unoccupied,  and 
these  places  unoccupied  by  design  must  be  as  agreeable 
to  the  eye  as  the  design  itself.  This  is  too  little  thought 
of  by  amateurs.  If  you  put  a very  small  design  in  the 
middle  of  the  space,  there  is  nothing  to  occupy  the  eye  in 
the  empty  parts,  except  the  texture  of  the  background. 
If,  on  the  other  hand,  the  design  is  too  large  for  the  space 
it  is  in,  the  charm  of  the  background  is  lost,  and  the  de- 
sign looks  crowded.  When  the  material  of  the  back- 
ground is  intrinsically  beautiful,  the  design,  it  is  true, 
becomes  secondary.  In  this  case,  its  color,  shape,  and  size 
should  all  be  subordinate  to  the  material,  and  it  may  be 
put  in  the  corner,  or  away  from  the  middle  ; but  let  it  ap- 
pear to  belong  in  the  corner,  its  lines  adapting  themselves 
to  the  right  angle,  while  its  contours  penetrate  agreeably 
the  surface  of  the  material.  The  practice  of  slight  deco- 
ration has  been  rather  overdone.  One  butterfly,  or  per- 
chance an  owl,  “ thrown  on  ” to  the  corner  of  a large 
Turkish  towel  has  become  tiresome.  You  want  to  com- 
pliment the  friend  to  whom  you  are  giving  the  present 
with  more  thought,  time,  and  trouble  than  this  implies. 
However,  individual  taste  must  rule.  I do  not  wish  to 
dictate  the  extent  of  space  your  design  must  occupy,  only 
to  urge  that  you  exercise  due  thought  in  deciding. 

If  you  have,  happily,  made  studies  from  natural  flowrers 
during  the  summer,  as  Christmas  approaches  you  have  a 
portfolio  of  original  designs;  and  it  may  be  you  have 


SELF-INS TR  UCTI VE  LESSONS. 


H"2 

studied  how  to  “conventionalize"  them.  If  not,  seek, 
among  Mr.  Tilton's  patterns,  or  wherever  you  can  find 
them,  something  suitable  and  pleasing  for  your  space. 
The  shape  is  the  thing  you  have  to  consider,  for  you  know 
you  can  enlarge  the  design  by  drawing  it  as  described  in 
t he  last  chapter.  If  you  have  not  learned  how  to  do  this, 
buy  a pattern  suited  in  size  as  well  as  shape  to  the  space 
you  wish  to  decorate. 

In  choosing  the  particular  flower  or  figure  to  put  upon 
the  space  you  are  to  decorate,  taste  and  judgment  must  be 
vour  guide.  For  myself,  I think  our  spring  wild-flowers, 
for  the  most  part,  are  not  suited  for  decoration,  in  their 
natural  state,  and  it  seems  almost  bad  taste  to  convention- 
alize things  so  unconventional.  They  are  lovely  to  paint, 
for  easel  pictures,  or  for  collections  in  a book,  to  be  turned 
over,  examined,  and  admired,  for  they  require  to  be  dain- 
tily painted,  drawn,  tinted,  and  modelled  with  great  care 
and  delicacy.  For  broad  Hat  effects  which  will  “carry” 
well,  — that  is,  show  to  their  best  across  the  room  where 
they  are  placed,  — rather  large  flowers  are  best,  like 
poppies,  single  roses,  iris,  apple-blossoms.  Golden-rod,  from 
its  rich  color,  has  tempted  the  decorators  of  late  ; I think  it 
lias  been  used  too  much;  though  its  feathery  racemes  are 
showy,  they  are  minute  in  detail,  and  the  reckless  swoops 
of  yellow  paint  with  which  they  are  sometimes  executed 
give  no  idea  of  the  fine  finish  of  their  countless  flowerets. 
The  sunflower  is  so  big  and  gaudy,  it  may  be  done  with  a 
house-painting  brush  ; bid  we  do  not  care  to  see  too  many 
sunflowers  about  us,  any  more  than  we  want  all  the  gar- 
den to  be  full  of  them. 


OIL  AND  WATER-COLOR  PAINTING. 


(53 

But  in  the  whole  world  of  beautiful  blossoms,  it  is  idle 
to  give  advice  in  a small  book  like  this.  Choose  your  own 
subject  for  design,  and  in  this  be  original  as  far  as  you 
can  ; that  is,  in  selecting  from  a mass  of  copies  or  patterns, 
be  guided  by  your  individual  taste. 

If  the  beauty  of  the  material  is  the  leading  charm  of 
your  piece  of  work,  be  careful  to  subordinate  the  design 
to  it  in  color  and  form,  as  well  as  size,  choosing  these  to 
enhance  and  set  off  its  texture  and  tint.  The  same  good 
taste  that  influences  you  in  the  choice  and  trimming  of  your 
winter  suit  will  aid  you  here,  for  the  fundamental  laws  of 
harmony  are  the  same  for  decorating  a human  being  and  a 
hand-screen.  Do  not  fear,  therefore,  to  trust  your  own 
judgment  in  these  matters,  rather  than  to  imitate  the  ideas 
of  some  one  else ; in  the  matter  of  design  and  form,  on 
the  other  hand,  lean  upon  some  high  standard,  and  train 
your  own  taste  up  to  it. 

Your  design  chosen,  cut  out  a paper  pattern  of  the 
exact  shape  you  wish  to  decorate,  mark  round  it  on  good 
paper  a space  exactly  like  it.  Upon  this  draw  the  design, 
as  faithfully  as  you  know  how,  making  it  just  as  good  as 
you  possibly  can  in  outline.  You  can,  upon  this,  alter  and 
adapt  to  suit  the  occasion.  If  you  draw  the  outlines  in 
charcoal  they  are  easily  brushed  off  and  changed.  Any 
design  you  have  selected  may  require  to  be  altered,  en- 
larged, or  diminished  — at  all  events  improved — by  some 
different  arrangements  of  the  parts  ; but  if  you  can  find 
one  just  suited  to  the  space,  so  much  the  better.  When  it 
is  drawn  to  suit  you,  color  it  in  flat  water-color  tints  upon 
the  white  paper.  Do  not  consider  this  a waste  of  time,  it 


64 


SELF-INSTRUCTIVE  LESSONS. 


will  protect  you  from  spoiling  the  work  itself,  which  would 
waste  not  only  time,  but  material.  In  this  preliminary 
preparation  you  are  becoming  familiar  with  the  subject, 
and  you  can  change  the  plan  of  color  or  form  as  you  go 
on.  Once  finished,  this  water-color  pattern  of  what  you 
are  to  do  should  be  implicitly  followed.  When  you  are 
working  upon  the  real  thing,  you  have  no  leisure  of  mind 
to  make  improvements  and  alterations.  The  design  should 
be  mechanically  transferred  to  the  material  to  be  used,  by 
one  of  the  methods  here  described,  and  the  colors  decided 
upon  now,  then  implicitly  followed. 

Your  own  design  may  be  best  transferred  by  tracing- 
paper,  and  red  carbonized  paper,  when  the  surface  is  such 
that  the  traced  lines -will  show,  or  you  may  use  Tilton’s 
transferring  designs  by  these  directions : — - 

Materials.  — The  materials  required  are  Transferring 
Designs,  transferring  powder,  an  implement  for  using  the 
powder,  and  a box  for  the  powder,  etc.  A limited  quan- 
tity of  powder  is  given  with  the  designs,  — more  may 
be  obtained  from  the  publishers  at  twenty-five  cents  a 
package.  The  best  thing  to  rub  the  powder  on  with  is  a 
roll  of  soft  felt  made  of  an  old  soft  felt  hat,  cut  in  strips 
of  about  one  inch  and  a half  in  width  and  rolled  tightly. 
After  being  rolled  and  sewed  together  the  ends  will  be 
uneven,  and  it  must  be  burnt  down  until  the  surface  is 
perfectly  flat  and  smooth.  This  can  be  done  by  putting- 
it  on  the  top  of  a hot  stove  and  rubbing  it  every  few  min- 
utes on  some  rough  surface.  When  done  it  will  be  about 
one  and  a half  inches  high,  and  from  one  and  a half  to  two 
inches  in  diameter.  This,  if  properly  made,  will  last  a 


. OIL  AND  WATER-COLOR  PAINTING. 


65 


lifetime.  A more  simple  way  is  to  use  a cotton  spool  after 
tying  two  or  three  thicknesses  of  cloth  over  one  end,  and 
over  that  a piece  of  soft  chamois  leather. 

For  the  powder  have  a box  made,  say  six  by  eight  inches 
in  size,  and  about  two  inches  deep,  with  the  inside  bottom 
lined  with  woollen  cloth;  partition  off  a space  at  one  end 
to  keep  the  powder  in  bulk,  and  have  the  compartment 
wide  enough  to  admit  tiie  felt  roll,  — a common  table  plate 
will  answer  in  place  of  the  box,  but  the  box  will  be  much 
better,  for  this  reason,  — the  best  transfer  can  be  made  by 
using  a very  small  quantity  of  powder.  Dip  the  felt  roll 
into  the  small  compartment  containing  the  powder,  and 
then  rub  it  over  the  cloth-lined  bottom  of  the  larger  com- 
partment ; this  will  distribute  the  powder  evenly  over  the 
surface  of  the  felt  roll  as  well  as  rub  it  in,  and  will  regu- 
late the  quantity  used  so  as  to  give  as  much  or  little  as 
may  be  desired. 

Directions  for  Making  a Transfer.  — The  trans- 
ferring should  be  done  on  a smooth  table.  Lay  the  design 
on  the  paper  or  material  to  which  the  transfer  is  to  be 
made,  with  the  rough  side  up.  One  side  of  the  design 
will  be  found  perfectly  smooth,  while  the  other  is  slightly 
rough;  secure  it  in  position  with  some  heavy  weight-— a 
flat-iron  will  do,  placed  on  the  end,  corner,  or  side,  so  as 
not  to  cover  the  design,  — hold  the  other  end  or  side  down 
with  the  left  hand,  and  hold  it  down  so  closely  that  no 
powder  can  get  between  it  and  the  material ; with  the 
right  hand  use  the  powder.  The  best  transfer  on  paper 
will  be  obtained  by  using  very  little  powder,  only  so  much 
as  will  give  a distinct  outline  of  the  design;  dip  the  felt 


66 


SELF-INS TR UC T1  VE  LESSONS. 


roll  into  the  powder,  then  rub  it  over  the  cloth-lined  bot- 
tom of  the  box,  then  rub  it  gently  — not  too  gently — over 
the  face  of  the  design.  If  the  directions  given  above  for 
holding  the  design  in  place  have  been  followed,  the  unse- 
cured side  may  be  raised  so  as  to  see  when  the  transfer  has 
been  perfectly  made  before  removing  it.  This  operation 
is  so  simple  and  easy  that  a very  few  trials  will  teach  any 
one  how  to  do  it. 

The  design  in  this  state  will  not  be  permanent,  as  the 
powder  will  easily  rub  off,  but  by  tracing  over  the  lines 
with  a fine-pointed  lead  pencil,  or  pen  and  ink,  as  the  case 
may  require,  the  powder  may  be  dusted  off  and  permanent 
lines  secured. 

These  designs  can  be  used  for  needlework  as  well,  in 
which  event,  after  removing  the  paper  pattern  from  the 
material,  the  powder  should  be  fastened  by  going  over  it 
with  a hot  iron,  having  covered  it  first  with  a thin  paper. 


PIGMENTS. 


The  following  chapter  explains  how  pigments  or  colors 
are  prepared  for  the  artist’s  use,  the  difference  between 
transparent  and  opaque  colors,  and  their  adaptation  for 
the  various  uses  to  which  they  may  be  put. 


68 


CHAPTER  VI. 

PIGMENTS. 

The  materials  used  by  painters  are  prepared  by  various 
processes, — grinding,  washing,  or  burning,  — and  applied 
by  dilution  with  some  liquid,  which  evaporates,  or  dries 
up,  leaving  the  pigment,  or  paint,  on  the  surface  of  the 
material,  to  which  it  has  been  applied,  without  change. 
For  this  purpose  various  fluids  are  employed;  and  the 
differences  of  the  materials  used,  with  the  method  of  em- 
ploying it,  have  given  rise  to  the  modes  of  painting  in 
water  colors,  oil,  etc. 

Pigments  may  be  arranged  in  two  classes,  opaque  and 
transparent.  The  first  are  those  which  have  great  body, 
and  which,  when  laid  upon  paper,  silk,  etc.,  cover  the  sur- 
face so  completely  as  to  efface  any  other  color  which  may 

lift 


TO 


SELF-INS TR  U C T1  VE  LESSONS. 


have  been  previously  applied.  The  transparent  pigments, 
or  colors,  are  those  which  leave  the  ground  upon  which 
they  are  applied  visible  through  them,  and  so  produce  a 
color  compounded  of  the  two ; thus,  a transparent  yellow 
over  blue  produces  green,  etc. 

Transparent  water-colors  are  those  which  come  in  tubes, 
pans,  or  half-pans,  the  latter  being,  on  the  whole,  most 
convenient.  Mr.  Tilton  has  for  beginners  a very  handy 
box  with  ten  pans  of  moist  colors,  enough  for  simple 
combinations,  which  should  be  learned  first.  The  use  of 
these  colors  is  easily  acquired,  and  forms  a good  basis  of 
knowledge  for  painting  in  any  medium.  For  painting 
flowers,  and  general  decoration,  a wider  range  of  colors  is 
to  be  desired,  and  a large  box  to  hold  them  ; but  it  is  very 
well  to  begin  moderately  with  a set  of  paints  that  costs 
but  little. 

1 do  not  here  describe  landscape  painting  in  water 
color,  practised  in  out-door  sketching,  as  it  has  little  con- 
nection with  the  subject  of  decoration.  Transparent  colors 
in  tubes  or  pans  are  best  emplojmd  for  this  work,  as  broad 
washes  and  wet  effects  are  produced  to  advantage  by  them 
alone.* 

Tilton’s  Liquid  Colors  for  Tapestry  Painting  are  just 
as  transparent  as  common  water-colors,  and,  being  very 
rich  and  brilliant  in  tone,  are  admirably  adapted  for  decora- 
tion. Moreover,  they  are  dyes,  strongly  mordant,  and  will 

* On  page  284  I have  slightly  given  you  the  colors  for  tinting  my 
illustrations  at  the  head  of  chapters,  which  you  may  follow  with  the  aid 
of  your  own  taste  and  skill. 


OIL  AND  WATER-COLOR  PAINTING. 


71 


adhere  to  cloth,  even  when  it  is  washed.  This  renders 
them  excellent  for  broad,  effective  work  on  bed-quilts  or 
curtains  of  washing  material.  Not  that  it  will  do  to  wash 
these  things  very  often  ; I only  mean  that  these  dyes  are 
more  permanent  than  the  delicate  water-colors  commonly 
in  use,  which  disappear  by  any  drop  of  water  which  may 
fall  upon  them.  These  paints  come  in  bottles,  and  are 
easily  used.  The  only  trouble  is  the  inconvenience  of 
transporting  such  liquid  paints  from  place  to  place. 
Transparent  colors  are  effective  on  any  white  or  very  light 
surface,  where  the  whole  design  is  to  be  darker  in  value 
than  the  background.  As  has  been  said,  eacli  color,  as  it 
is  laid  on,  is  influenced  by  the  tint  below  it,  just  as  colored  ' 
glass  or  isinglass  would  be.  Therefore,  in  painting  upon 
textiles  of  a dark  color,  where  light  tints  are  to  be  laid 
upon  a dark  background,  something  else  must  be  em- 
ployed. For  this  Gouache,  or  Body  Colors,  are  used, 
the  basis  of  which  is  Chinese  white,  a thick,  white  paste 
which  comes  in  bottles  or  tubes.  It  looks  very  much  like 
oil  paint,  but  combines  with  water  instead  of  any  other 
medium.  The  ordinary  transparent  colors  may  be  made 
opaque  by  mixing  with  Chinese  white.  A very  usual  way 
of  painting  in  opaque  color  is  to  lay  in  all  the  forms  with 
a pretty  thick  coat  of  pure  Chinese  white,  which  forms  an 
undertone  on  which  the  tints  required  may  be  laid  with 
the  common  transparent  colors  in  Mr.  Tilton’s  box,  or  his 
liquid  colors  just  mentioned.  A more  direct  effect  may  be 
produced  with  the  gouache  colors,  which,  combined  by  the 
maker  with  Chinese  white,  are  ready  to  be  laid  on  in  the 
tints  required  for  the  final  effect.  In  this  case,  the  first 


72 


SELF-1  NSTRUCT1  VE  LESSONS. 


undertone  is  made  with  the  requisite  local  color  of  the 
design  ; the  modelling  and  markings  needed  to  give  it 
roundness  and  character  may  be  put  on  with  transparent 
color  over  the  coat  of  gouache.  The  use  of  opaque  colors 
is  good  practice  for  employing  oil  paints,  which  are  to  be 
preferred  for  some  kinds  of  decoration.  The  latter  are, 
upon  the  whole,  the  most  troublesome  of  all  pigments  for 
processes  outside  their  legitimate  sphere,  which  is  painting 
on  canvas,  — portraits,  landscapes,  or  great  works  of  any 
sort.  To  subordinate  oil  colors  to  the  whims  and  fancies 
of  feminine  decoration  seems  unwise  ; but  it  is  often  done, 
and  with  good  effect.  The  difficulty  in  managing  oil  colors 
on  any  delicate  textiles,  like  silk  or  satin,  is  that  the  oil  in 
them  is  apt  to  spread  upon  the  material,  and  when  it  does 
to  make  an  ugly  grease  spot.  Turpentine,  which  is  used 
to  thin  the  colors,  as  water  is  in  gouache  or  water  color,  is 
but  little  better.  It  is,  unfortunately,  almost  impossible, 
in  written  directions,  to  describe  exactly  the  amount  of 
turpentine,  or  other  medium,  that  may  be  mixed  with 
these  pigments  without  danger.  Experiment  alone  can 
guide  the  decorator ; and  each  different  material  must  be 
practised  upon.  By  painting  with  gouache  colors  before 
attempting  any  serious  work  in  oils,  you  may  make  the 
process  easier  for  yourself. 

It  is  thus  seen  that  there  are  two  distinct  processes  of 
working  required  by  the  different  mediums  described, 
transparent  and  opaque.  In  ordinary  water-color  painting, 
and  that  for  which  the  Liquid  Colors  are  used,  only  trans- 
parent effects  must  be  sought.  In  opaque  painting,  either 
with  Chinese  white  and  gouache  colors,  or  with  oil  paints. 


OIL  AND  WA  TEH-COLOR  PA  INTING. 


73 


no  transparency  can  be  looked  for,  but,  instead  of  these, 
thick,  solid  effects  of  mass.  Therefore,  gouache  painting 
and  oil  painting  are  more  close!}'  allied  to  each  other  than 
gouache  painting  is  to  transparent  water-color,  although 
water  is  the  medium  it  requires.  This  distinction  must 
not  be  lost  sight  of.  If  you  are  painting  in  pure  trans- 
parent color  upon  a light  ground,  any  touch  of  Chinese 
white  or  gouache  will  injure  wholly  your  work.  If,  on  the 
other  hand,  you  are  working  in  opaque  color,  use  as  little 
water  as  possible,  and  do  not  try  for  thin  washes.  It  is 
still  worse  in  oils  to  thin  the  colors  over-much  with  tur- 
pentine or  oil.  Thin,  transparent  effects  are  best  attained 
with  water  colors,  and  rich  masses  with  oils. 

These  differences  of  medium  bring  about  two  wholly 
distinct  methods  of  treatment,  which  you  had  better  under- 
stand at  the  outset,  in  order  not  to  confound  them  later, 
and  work  unsuccessfully,  perhaps  unconsciously,  with 
both  methods  at  once.  In  transparent  color  on  white  or 
light  backgrounds,  such  as  paper  or  light  silk,  the  ground 
is  the  highest  light.  Any  spots  of  white  in  the  design  are 
given  by  leaving  the  paper  untouched  by  paint  in  the 
right  shape  to  give  the  idea  of  that  high  light.  The  strong- 
est illustration  of  this  is  the  reflection  of  a window  barred 
with  the  lines  between  the  sashes,  cast  upon  a dark  glass 
surface.  Suppose  you  are  making  a careful  study  of  a glass 
vase  or  pitcher,  upon  which  this  reflected  window  is  to  be 
depicted.  If  you  are  painting  in  transparent  color,  the 
little  picture  of  that  window  must  be  left  without  any 
paint  upon  the  pure  white  of  the  paper,  that  it  may  tell 
with  good  effect  by  the  brightness  of  the  white  paper 


74 


SE L F-INS TR  UC TI VE  LESSONS. 


when  it  is  covered  up  elsewhere  with  colors.  You  have 
no  power  of ‘giving  brightness  other  than  relying  on  this 
pure  white  of  the  paper  for  the  highest  light.  On  the 
othei  hand,  in  painting  either  with  gouache  or  oils,  you 
need  not  trouble  yourself  about  the  matter  in  laying  on 
the  color  of  the  vase  : but,  when  that  is  wholly  dry,  with 
white  paint  you  will  paint  the  reflected  window.  In  this 
case,  your  difficulty  will  be  to  paint  a tiny  little  window 
there  (curved,  probably,  by  the  shape  of  the  vase)  just  as 
accurately  as  you  can.  In  the  other  case,  working  with 
transparent  color,  you  will  have  to  paint  around  a little 
shape  like  the  window,  left  on  the  paper  with  color  in  the 
sense  of  a background.  Your  success,  b}r  the  way,  in  both 
cases  will  depend  upon  the  skill  with  which  you  render 
the  form  of  the  little  reflected  window. 

From  this  matter  of  the  highest  light  arises  the  differ- 
ence in  the  two  methods.  In  transparent  water-color  you 
work  away  from  the  white  down  to  the  lowest  dark  of  the 
shadows ; in  gouache  and  oils  you  may  put  on  the  darker 
parts  first,  and  work  up  to  the  lights,  your  finishing  touches 
being  the  well-executed,  sharp  flashes  of  white.  In  trans- 
parent water-color  the  finishing  touches,  on  the  other 
hand,  are  the  darkest, — little  bright  dark  markings  in  the 
right  places  to  define  the  very  depths  of  a corolla,  or  the 
stripe  of  a petal, — in  general,  the  parts  of  the  design 
farthest  from  the  eye  in  the  shadowy  recesses  behind  the 
nearer  and  lighter  masses.  In  transparent  color,  if  you 
lose  the  brilliancy  of  a high  light  with  your  first  washes, 
it  is  useless  to  have  recourse  to  a dot  of  Chinese  white  to 
restore  it.  Therefore,  put  your  bottle  of  Chinese  white  as 


OIL  AND  WATER-COLOR  PAJNTTNG. 


7 f> 

far  away  as  possible,  not  to  be  tempted  to  use  it.  Remem- 
ber that  all  the  tints  are  influenced  by  the  white  of  the 
paper  you  are  painting  on  shining  through  them.  With  a 
thick  drop  of  white  you  destroy  all  hope  of  this  effect. 
Opaque  color  dries  dull,  while  transparent  color  grows 
brilliant  as  it  dries,  and  thus  the  two  methods  have  no 
sympathy  with  each  other. 

In  all  these  different  methods  of  working,  and  different 
mediums,  the  laws  of  taste  for  color  and  design  are  the 
same.  I shall  consider,  as  a basis  for  my  directions,  the 
use  of  transparent  water-color,  because  these  paints  are, 
on  the  whole,  the  easiest  for  beginners  to  handle,  and, 
beginning  in  a simple  way,  the  cheapest.  In  the  direc- 
tions for  working  on  various  materials,  I shall  describe  the 
method  for  each  of  the  mediums  in  use,  pointing  out  the 
advantage  of  one  of  them  over  another  for  one  and  another 
texture  of  stuffs. 


COLORS 


[PRACTICAL). 


Materials  for  Chapter  VII. 


Box  of  Water-Colors. 
Brushes. 

Lead-Pencils. 


Paper  or  Paper  Block. 
Two  Tumblers  of  Water. 
Old  Rags. 


To  be  skilful  in  the  use  of  colors  requires  a knowledge 
of  their  capacity  ; that  is,  what  can  be  done  with  them.  In 
the  previous  chapter  the  reader  is  told  how  colors  are  pre- 
pared for  the  artist’s  use  : the  following  chapter  will  tell 
how  they  may  be  compounded  or  mixed  so  as  to  produce 
various  results. 

It  is  a difficult  matter  for  one  who  has  acquired  skill  in 
the  use  of  colors  through  long  practice  to  explain  in  brief 
what  has  cost  so  much  time  and  study  to  learn. 

What  confuses  many  who  are  unacquainted  with  the 
management  of  colors,  is  a scientific  “ Theory  of  Color  ” 
which  cannot  be  carried  into  practice  because  we  cannot 
obtain  the  materials  supposed  to  be  used  in  it ; and  many 
writers  on  color  mix  theory  and  practice  in  such  a way  as 
to  make  the  practice  of  colors  difficult  to  understand. 

Science  produces  a theory  in  which  there  are  but  three 
primary  colors ; viz.,  blue,  red,  and  yellow.  In  this  theory 
each  of  these  three  colors  is  absolutely  pure  ; that  is,  blue  is 
blue,  with  no  mixing  of  other  color  or  matter:  and  so  with 
red  and  yellow.  With  these  three  colors,  all  other  colors 
and  tints  seen  in  the  works  of  nature  are  produced. 


78 


OIL  AND  WATER-COLOR  PAINTING. 


79 


Although  this  theory  is  generally  accepted  by  artists,  it 
cannot  be  carried  into  practice  because  of  the  colors  em- 
ployed by  the  artist.  None  are  pure.  We  find  blues,  reds, 
and  yellows,  but  not  one  of  them  unalloyed  with  foreign 
substance  : consequently  the  artist  cannot  select  any  one  of 
each  of  the  blues,  reds,  and  yellows  at  his  command,  and 
with  them  produce  all  known  colors.  If  he  will  learn  the 
nature  and  capacity  of  all  of  the  different  blues,  reds,  and 
yellows,  he  may  be  able  to  approximate  .Nature  in  her 
coloring.  Any  one  with  a good  eye  for  colors  could  at  a 
glance  detect  the  difference  in  color  between  flowers 
painted  by  nature,  and  flowers  painted  by  the  greatest 
artist  who  has  ever  existed. 

Accepting  the  theory,  suppose  we  could  enter  Nature’s 
studio,  and  there  hear  an  order  given  for  so  much  red  and 
so  much  blue : it  would  be  a definite  order,  because  there 
would  be  but  one  blue  and  one  red.  The  same  order  in  an 
artist’s  studio  would  be  unintelligible : the  question 
would  be,  Which  blue?  Which  red?  Consequently,  while 
in  theory  there  may  be  but  three  primary  colors,  there 
are  no  three  colors  obtainable  in  practice  from  which  all 
other  colors  can  be  made,  and  the  artist  must  have  a wider 
range  of  what,  for  convenience,  we  will  call  primary 
colors.  Some  artists  select  but  few,  while  others  de- 
mand a larger  number : perhaps  ten  will  be  a fair  aver- 
age. It  would  be  next  to  impossible  to  say  definitely 
what  these  colors  shall  be,  because  there  are  so  many 
different  blues,  reds,  yellows,  and  mixed  colors,  that  sev- 
eral lists  of  ten  colors  could  be  selected  from  which  prac- 
tically the  same  results  could  be  obtained.  The  following 


80 


SELF-INS  TP,  UCTI VE  LESSONS. 


ten  colors  we  have  found  in  more  general  use  for  water 
colors  than  any  other  list  which  we  have  ever  seen : — 

Blues : Indigo,  Cobalt,  and  Prussian. 

Reds  : Crimson  Lake,  Vermilion,  and  Light  Red. 

Yellows:  Gamboge,  Yellow  Ochre. 

Mixed  Colors:  Vandyke  Brown  and  Sepia. 

These  ten  colors  are  in  Tilton’s  Decorative  Art  Box 
No.  1,  which  also  contains  mixing  directions,  showing  how 
they  may  be  combined  so  as  to  produce  any  color  de- 
sired. 

We  do  not  advise  the  reader  to  confine  himself  to  these 
ten  colors.  After  becoming  acquainted  with  them,  there 
are  many  others  worth  trying.  Miss  Hale  has  in  the  fol- 
lowing chapter  mentioned  other  sets  of  primary  blues, 
reds,  and  yellows. 

In  regard  to  proportions  in  mixing,  that  is  something  to 
be  learned  by  practice.  The  reader  will  find  it  quite  an 
interesting  study  in  trying  to  match  colors  found  in 
flowers  and  foliage ; he  will  be  surprised  by  the  endless 
variety  found  in  the  greens  of  nature.  As  this  book  is 
not  intended  to  be  a treatise  on  color,  we  will  refer  the 
reader,  for  further  information  on  the  subject,  to  “Artists’ 
Colors,  and  How  to  mix  Them.” 

In  (lie  matter  of  applying  one  color  over  another  as 
mentioned  in  the  following  chapter,  the  reader  who  is 
learning  will  hardly  succeed  in  his  first  trial,  as  it  is  not 
easily  accomplished  until  after  one  has  learned  the  knack 
of  doing  it ; the  difficulty  to  overcome  is  in  laying  on  the 
second  color  without  disturbing  the  first.  This  is  not  one 


OIL  AND  WATER-COLOR  PAINTING. 


81 


of  the  things  which  can  be  done  without  learning  how  ; 
and  as  this  chapter  is  to  be  instructive  in  combining  and 
mixing,  rather  than  in  the  application  of  colors,  the  reader 
may  defer  learning  this  part  until  later,  unless  he  prefers 
to  learn  both  at  the  same  time.  If  the  colors  are  mixed 
instead  of  applying  one  over  another,  the  result  will  be 
practically  the  same. 


The  three  primary  colors  are  red,  blue,  and  yellow. 
Each  of  these  is  bright,  pure,  and  clear  in  its  own  tint, 
which  cannot  be  confounded  with  any  other.  There  are 
different  reds,  blues,  and  yellows  in  all  the  paint-boxes. 
The  experiments  described  here  you  may  make  with 
Prussian  blue,  crimson  lake,  and  gamboge  from  Tilton’s 
D.  A.  Color  Box. 

* For  other  information  on  this  subject,  see  “ Artist  Colors,  and  IIow 
to  Mix  Them.” 


83 


84 


SELF-INS TR  UC T1 VE  LESSONS. 


Tlie  secondary  colors  are  made  by  combination  of  the 
primary  colors  in  pretty  even  quantities. 

Red  and  blue  make  purple. 

Yellow  and  red  make  orange. 

Blue  and  yellow  make  green. 


R&d. 


Red  is  tlie  complement  of  Green;  Blue  is  the  complement  of  Orange;  Yellow  is 
the  complement  of  Purple.  These  colors  are  found  opposite  each  other  at  the  points 
of  the  star. 

The  two  triangles  of  this  cut  illustrate  this  very  well, 
and  you  will  do  well  to  keep  the  pointed  star  they  form 
in  your  mind,  for,  though  the  rules  of  color  seem  simple, 
it  is  easy  to  forget  them. 


OIL  AND  WATER-COLOR  PAINTING. 


85 


In  good  compositions  of  color  some  evidence  of  the 
three  primary  colors  is  always  present.  If  red  and  yellow 
are  present,  the  eye  instinctively  asks  for  blue;  if  blue 
and  yellow  are  alone  to  be  seen,  some  ingredient  of  pleasure 
is  wanting,  which  will  be  found  to  be  red.  Thus  Red, 
Blue,  Yellow,  may  be  regarded  as  a whole,  incomplete 
without  the  presence  of  its  three  parts.  Now  the  second- 
ary colors,  purple,  orange,  and  green,  each  being  made  by 
combining  only  two  primaries,  must  lack  the  third  ele- 
ment of  completeness,  and  the  third  color,  therefore, 
required  to  complete  the  whole,  is  called,  in  each  case,  the 
complementary  color,  or  color  necessary  to  complete  the 
secondary  color ; that  is,  to  make  a combination  pleasing 
to  the  eye. 

Referring  again  to  my  star,  you  will  see  that  the  points 
opposite  each  secondary  give  its  complementary  color. 
Thus,  opposite  purple  you  find  yellow;  opposite  orange 
stands  blue ; and  opposite  green,  red.  Now  this  is  not  a 
mere  jargon  of  terms,  as  you  might  suppose,  but  a great 
help  in  making  not  only  combinations  of  color,  'but  mix- 
tures of  paints.  This  system  of  colors  was  discovered, 
not  invented ; that  is,  it  was  drawn  from  Nature,  and 
there  are  plentiful  illustrations  of  it  in  Nature  herself. 
Everywhere  you  will  find  that  the  secondary  colors  are 
enhanced  — set-off,  made  brilliant  and  effective — by  being- 
placed  close  to  their  complementary  colors.  The  cardi- 
nal-flower flashes  most  brightly  seen  among  the  bright 
green  of  reedy  grasses,  in  which  it  loves  to  grow.  The 
yellow  centres  of  asters  are  set  off  by  their  fringe  of 
purple:  and  why  should  pale  yellow  butterflies  flutter 


86 


SELF-INS TR  UCTI VE  LESSONS. 


over  the  great  purple  thistles,  if  their  vanity  did  not 
assure  them  that  the  complementary  combination  was 
most  ornamental  to  them?  The  intense  orange  tints  of 
a.  clear  sunset  are  much  enhanced  by  the  deep  blue  of  the 
sky  above,  and  the  blue  of  mountains  below.  And  so  on, 
the  illustrations  to  he  drawn  from  Nature  of  the  harmony 
of  complementary  colors  is  infinite,  and  you  will  do  well 
to  seek  your  own  examples.  Look  at  the  shadows  cast 
upon  a brick  sidewalk  when  it  is  wet,  and  therefore  bright 
orange  color,  and  see  if  they  do  not  appear  decidedly  blue. 

It  by  no  means  follows  that  the  proportions  of  the 
colors  employed  should  be  equal.  A very  little  yellow, 
for  instance,  goes  a great  way ; one  touch  of  red  lights 
up  a whole  field  of  green,  and  so  on. 

The  practical  use  of  this  old  discovery  is  not  limited  to 
enhancing  the  effect  of  colors  by  putting  the  right  ones 
side  by  side.  It  is  especially  valuable  in  working  with 
transparent  water-color.  You  will  find  that  the  proper 
color  to  “shade”  a primary  is  its  secondary  color,  — and 
the  reverse,  — and  will  learn  to  detect  these  tints  in  Na- 
ture. The  dark  side  of  red  is  green  ; the  dark  side  of 
yellow  is  purple  ; the  dark  side  of  orange  is  blue.  If  you 
look  at  my  star  again  you  will  perceive  that  one  side  of 
it,  where  red,  orange,  and  yellow  are,  is  the  side  of  light, 
while  the  other,  purple,  blue,  and  green,  is  the  side  of 
shadow. 

You  may  make  practical  experiments  with  the  three 
colors  I have  named,  — Prussian  blue,  crimson  lake,  and 
gamboge,  — at  the  same  time  getting  a little  skill  in  put- 
ting on  washes. 


OIL  AND  WATER-COLOR  PA  INTI  NO. 


87 

Cover  a block  of  good  drawing-paper,  wet  all  over  with 
a small  sponge,  with  little  spaces  marked  out  with  a pen- 
cil, about  an  inch  and  a half  square.  The  paper  should 
be  still  damp,  but  not  shiny  with  wet,  when  you  begin 
to  paint. 

Fill  some  of  the  squares  with  a good  wet  wash  of 
Prussian  blue,  some  with  crimson  lake,  and  some  with 
yellow.  By  the  time  you  have  tinted  them  all,  the  first 
will  be  dry  enough  to  paint  over.  Put  a wash  of  each 
color  over  one  square  containing  each  of  the  other  colors. 
You  will  find  now  you  have  green,  orange,  and  purple 
squares,  as  well  as  red,  blue,  and  yellow  ones.  Take  now 
one  of  the  secondary  squares — for  instance  the  green  one 
— made  of  blue  and  yellow.  The  color  lacking,  i.  <?.,  the 
complementary  color,  is  red.  If  you  will  wash  over  half 
of  the  green  with  red,  leaving  the  other  half  green,  you 
will  find  that  you  have  depicted  a space  half  in  light,  half 
in  shadow.  The  pure  green  is  the  light  side,  the  part  cov- 
ered with  red  has  the  requisite  tint  to  represent  that  same 
green  in  shadow ; in  other  words,  with  the  light  with- 
drawn, painted  out  by  red. 

Upon  a purple  square  cover  half  with  yellow.  You 
will  find  this  addition  lias  given  you  the  right  tint  for  the 
parts  withdrawn  from  light.  So  with  the  orange  square  ; 
blue  will  have  the  same  effect. 

Now  prove  the  same  thing  by  adding  green  upon  half 
of  a red  square,  purple  upon  yellow,  and  orange  upon 
blue.  The  result  is  the  same.  You  may  make  green  with 
Prussian  blue  and  gamboge,  before  laying  it  on,  or  you 
may  lay  on  first  Prussian  blue,  and,  when  that  is  dry,  gam- 


88 


SELF-IN SIR  UCTI VE  LESSONS. 


huge ; the  result  is  the  same.  To  ensure  success,  mix  the 
green,  purple,  and  orange  to  contain  pretty  equal  effects 
of  each  primary,  — effects,  not  quantities,  — for  the  power 
of  pigments  is  very  variable  ; a very  little  Prussian  blue 
turns  a sea  of  gamboge  green,  and  turns  crimson  lake  into 
dark  purple. 

Another  experiment  is  prettier,  and  may  be  made  on 
the  same  sheet  of  paper,  if  you  have  room  enough  between 
the  squares.  Draw  lightly  three  rounded  forms,  like  a 
cherry,  an  orange,  and  the  petal  of  a buttercup.  Paint 
the  cherry  with  wet  bright-crimson  lake,  and,  while  it  is 
still  wet,  drop  some  bright  green  into  the  wet  color  on 
one  side,  for  its  shadow.  You  will  find  it  spreads  about 
on  the  wet  color,  in  a pleasant  way,  giving  of  itself  the 
gradations  on  a rounded  surface.  Allow  more  green  to 
stay  in  the  middle  of  the  dark  space  than  elsewhere.  As 
it  spreads,  it  will  be  more  and  more  affected  by  the  red, 
just  as  deep  shadows  are  gradually  influenced  by  light. 

Paint  the  petal  with  pure  gamboge  (in  a perfectly  clean 
brush),  and  while  still  wet  drop  purple  into  a part  of  it. 
This  dropping  is  done  with  a brush,  pretty  full,  both  of 
the  same  yellow  needed  for  the  first  wash  and  some  purple 
taken  pure  from  your  purple  mixed  on  the  palette.  Hold 
the  brush  upright,  and  touch  the  surface  of  the  petal 
lightly.  The  new  color  will  run  in  of  itself,  and  needs 
not  to  be  stirred  up  on  the  paper,  but  left  to  spread  and 
soften.  One  touch  will  probably  be  enough.  Of  course 
if  you  drop  in  too  much  purple  you  will  change  the  whole 
and  lose  all  the  yellow.  The  orange  may  be  rounded  in 
the  same  manner.  If  your  first  mixture  of  orange  lacks 


OIL  AND  WATER-COLOR  PAINTING. 


89 


red,  the  shadow  tint  wrought  by  dropping  in  blue  will  be 
too  green ; because  blue  and  yellow  make  green,  and  red 
is  required  to  keep  that  tint  in  check.  The  shadows  of 
orange  known  in  Nature  are  decidedly  greener  than  those, 
of  yellow.  Keep  your  colors  pure,  — that  is,  do  not 
muddle  the  primaries  in  mixing  them,  even  with  their 
secondary  combinations,  — but,  as  far  as  you  can,  have 
the  dropping  into  the  wet  place  made  on  the  paper  with  a 
fresh,  pure  tint. 

These  laws  of  complementary  color  are  most  valuable, 
and  you  will  do  well  to  have  the  star  which  notes  them 
before  your  mind’s  eye,  at  least.  The  shadows  of  yellow 
and  orange  are  often  ill-executed,  on  account  of  neglect 
of  this  guiding  star.  There  is  a dictum  that  yellow 
should  be  shaded  with  “brown,”  which  is  perfectly  true, 
for  browns  are  but  purples  with  yellow  added ; but  the 
dictum  is  dangerous,  for  paint-boxes  contain  a great  many 
different  “browns,”  mixed  with  more  or  less  yellow,  which 
may  be  either  too  much  or  too  little  for  your  own  tint. 
If  you  drop  purple  into  yellow  you  are  sure  of  fitting  the 
right  “ brown,”  not  the  wrong  one. 

Tn  pansies,  Nature  and  cultivation  together  have  play- 
fully, one  might  say,  rung  the  changes  upon  purple  and 
yellow.  Here  are  all  gradations  of  the  two  colors  blended, 
making  rich  browns  where  the  purple  is  run  into  yellow, 
especially  on  the  lower  petals,  just  as  it  may  be  with  the 
brush  and  good  wet  color. 

The  three  pigments  — Prussian  blue,  crimson  lake,  and 
gamboge  — -serve  very  well  to  illustrate  the  law  of  comple- 
mentary colors  and  for  practice  in  first  washes,  but  there 


SELF-INS TR  UCTI VE  LESSONS. 


90 

are  far  richer  ones  in  the  range  of  the  color-maker,  which, 
lightly  combined,  make  delicious  tints.  In  the  tubes  and 
pans  of  the  higher  grades  these  are  lovely.  Other  colors 
.mentioned  in  the  lists  are  equally  lovely,  but  less  transpa- 
rent, and  these  I advise  you  to  avoid  when  you  are  making 
washes;  they  are  useful  adjuncts  to  painting  in  gouache, 
or  body  color. 

After  you  have  mastered  the  combinations  of  primary 
and  secondary  colors,  you  will  be  able  to  produce  all  the 
tints  you  require.  Remember  that  red,  blue,  and  yellow 
nre  the  only  pure  colors,  and  that  all  other  combinations 
are  due  to  the  different  proportions  in  which  these  find 
themselves.  The  aesthetic  shades,  so  much  in  vogue,  — 
and  with  good  reason,  — are  but  the  old  crude  tints  en- 
hanced by  the  increased  proportion  of  some  one  of  the 
primary  colors.  “ Greenery-yallery  ’’  shades  are  described 
by  their  name ; the  brick-reds,  called  terra  cotta,  old- 
gold  yellows,  peacock  blues,  are  but  modifications  of 
the  old  primaries,  only  the  old  pigments  are  superseded 
every  day  by  new  paints,  made  through  modern  chemical 
discoveries.  These  combinations  of  color  have  been 
called  “ tertiaries,”  and  so  on,  but  it  is  not  necessary 
to  confuse  the  mind  with  arithmetical  proportions  carried 
so  far. 

Keep  your  palette  simple,  and  do  not  mix  up  a quantity 
of  tints,  hoping  for  a lucky  combination.  This  is  espe- 
cially important  in  oils;  a dreadful  mess  may  be  made 
with  brush  and  palette-knife,  destroying  all  hope  of  fresh- 
ness of  tint.  Whatever  pigment  you  have  chosen  to  use 
for  the  local  color  of  your  subject  should  be  kept  for  its 


OIL  AND  WA  TER-COLoli  PAINTING. 


91 


complementary  combinations.  For  instance,  if  you  should 
hit  upon  carmine  to  paint  a flower,  use  carmine  again  to 
gradate  the  shades  of  your  greens,  and  use  the  same  paints 
to  mix  these  greens  and  to  round  the  petals  of  the  carmine 
flower.  The  carmine  left  in  your  brush  after  laying  mi 
the  local  tint  of  the  petal  will  be  just  right  to  modify  the 
green  you  intend  for  the  leaves.  All  secondary  tints  are 
crude  without  a slight  addition  of  their  complement,  — 
not  too  much;  just  a flavor,  like  pepper  and  salt  in  a good 
soup.  Let  that  seasoning  be  what  is  in  your  brush,  left 
from  the  use  of  that  complement,  and  you  will  make  har- 
monious combinations.  That  is,  if  you  have  been  laying- 
on  a tint  of  pure,  bright  yellow,  the  color  left  in  your 
brush  is  quite  likely  to  be  just  enough  to  modify  the  pur- 
ple, made  of  red  and  blue,  which  you  need  for  rounding 
the  yellow.  Therefore,  while  using  water  freely,  do  not 
wash  your  brush  heedlessly,  but  consider  whether  the  color 
left  in  it  may  not  enhance  your  effect.  The  yellow  of  the 
stamens  of  a wild  rose  is  a good  yellow  to  put  into  the 
green  of  its  leaves,  — the  rose-color  of  the  petals  will 
help  the  green,  and,  with  a little  green,  will  be  right  for 
the  stems  and  thorns.  The  green,  in  its  turn,  will  deli- 
cately shade  the  petals,  and  the  darkest  tint  will  mark  the 
veins  of  the  leaves,  bring  out  one  side  of  the  stem,  and 
give  the  finishing  touches.  Here  is  simplicity  and  har- 
mony, and  the  result  will  be  good.  Bad  would  be  (and 
often  is)  the  result  of  painting  the  rose  with  lake, 
the  centre  with  cadmium,  using  Hooker’s  green  for  the 
leaves,  and  shading  them  with  “brown,'’  i.  e.,  some 
color  taken  at  random  from  the  box,  — composed  of 


92 


SELF-1  NSTR  UCTIVE  LESSONS. 


tints  you  know  not  what,  very  likely  alien  to  all  the 
others  employed. 

Every  artist  has  his  own  palette  ; i.  e .,  a favorite  range 
of  colors  which  he  employs  for  effects.  Yon  will  do  well 
to  make  yourself  familiar  with  the  contents  of  your  paint- 
box, and  understand  the  composition  of  the  different 
tubes,  pans,  or  cakes  it  contains.  Do  not  be  misled  by 
the  names  of  the  paints  or  pigments,  for  they  often  con- 
vey a wrong  idea.  Thus,  “ brown-pink,”  which  you  might 
think  would  be  useful  for  dingy-  rose-colored  flowers,  is  a 
warm  yellow,  good  for  combination  with  indigo  in  making 
greens. 

As  all  combinations  of  color  are  made  up  of  some  red, 
some  blue,  and  some  yellow,  you  will  do  well  to  arrange 
your  box  on  this  principle,  having  all  the  reds  by  them- 
selves, all  the  blues,  and  all  the  yellows,  and  this  in  disre- 
gard to  their  names,  which,  as  I have  said,  are  misleading. 
As  far  as  possible,  buy  and  use  those  pigments  most  nearly 
allied  to  the  primary  reds,  blues,  and  yellows.  There  are 
paints  made  of  combined  colors  ready  for  the  artist ; for 
instance,  Hooker’s  green,  Payne’s  gray,  etc.  Hooker’s 
green  is  merely  gamboge  and  Prussian  blue  put  together. 
It  is  very  bright,  very  crude.  You  will  do  better  to  avoid 
it,  and  to  rely  on  making  your  own  combination  of  blues 
and  yellows.  Payne’s  gray  is  a very  pretty  gray,  but  it  is 
cold  and  neutral  in  tone,  and,  if  used,  needs  almost  always 
to  be  warmed  up  with  a little  rose,  or  brightened  by  a 
little  yellow.  It  is  not  unusual  to  “shade  ” yellow  flow- 
ers— perhaps  all  flowers  — with  Payne’s  gray  ; a sad  mis- 
take, as  we  have  seen  by  the  law  of  complementary 


OIL  AND  WATER-COLOR  PAINTING. 


93 


colors.  “ Gray,”  a vague  term  for  all  the  combinations  of 
red,  blue,  and  yellow,  in  suitable  proportions,  can  be  made 
right  to  “shade”  with,  only  by  making  it  complementary 
to  the  local  color  it  is  used  upon,  which  can  be  done  by 
mixing  it  with  the  same  paints  which  occur  in  that  color. 
The  gray  made  of  cobalt,  rose  madder,  and  yellow  ochre 
is  suitable  for  the  shadow  parts  of  flowers  painted  with 
cobalt,  because  the  orange  (complementary  to  blue)  made 
of  rose  madder  and  yellow  ochre  becomes  gray  by  the 
addition  of  a little  cobalt,  or  by  the  cobalt  tint  on  your 
paper  underneath  the  second  tint.  But  Payne’s  gray  has 
little  in  common  with  such  a gray;  it  is  made  of  indigo, 
crimson  lake,  and  yellow  ochre.  The  first  tAvo  of  these 
colors  are  coarse  and  heavy  compared  with  the  delicate 
tints  of  cobalt  and  rose  madder,  and  therefore  unsuited  to 
be  used  with  them,  just  as  you  would  hardly  think  of 
trimming  a soft,  light  summer  surah  of  pale  blue  Avitli 
navy-blue  velvet  ribbon.  If  you  have  no  rose  madder  in 
your  box,  use  crimson  lake,  which  is  the  nearest  to  it. 
Crimson  lake  is  almost  too  vivid  for  delicate  grays  and 
purples,  but  a little  of  it  Avill  answer,  Avith  cobalt  and 
yelloAV  ochre.  The  new  greens,  many  of  which  are  pure 
aniline  pigments,  cannot  Avell  be  imitated  by  combining 
primary  tints,  and  therefore  may  be  used,  especially  in 
decoration,  Avhere  we  seek  for  brilliant  effects  rather 
than  close  imitation  of  the  tints  of  nature.  Many  of 
them  are  opaque,  and  not,  therefore,  good  in  purely 
transparent  coloring ; one,  however,  transparent  green 
oxide  of  chromium,  is  a bright,  delicious  green,  and,  varied 
by  the  addition  of  yellows  and  blues,  very  useful. 


04 


SELF-1  NS  TR  UC TI VE  LESSONS. 


You  must,  however,  establish  your  own  palette,  and 
make  your  own  experiments  of  combined  tints,  follow- 
ing the  laws  of  complementary  color,  and  not  trusting  to 
the  name  of  a pigment  until  you  have  tested  its  tint  and 
classed  it  where  it  belongs,  among  the  reds,  blues,  or 
yellows. 


COLORS 

{THEORETICAL). 


COLORS,  THEORETICAL. 

I 

It  is  easy  to  grow  confused  in  mind  about  this  matter 
of  the  primary  colors,  through  the  difficulty  of  finding 
terms  to  express  ideas  in  themselves  simple.  Red,  blue, 
and  yellow  have  been  named  the  primary  colors,  simply 
because  these  three  are  the  only  ones  we  can  use  to  start 
with  in  making  combinations  of  tints.  We  must  start 
with  them,  and,  in  fact,  take  them  as  we  find  them,  be- 
cause they  are  the  only  colors  which  will  answer  for  sec- 
ondary combinations.  For  instance,  red  and  blue  combined 

97 


98 


SELF-INS TR  UCTI VE  LESSONS. 


make  purple,  but  we  cannot  yet  find  any  two  colors  which 
will  combine  to  make  red  ; blue  and  yellow  make  green, 
but  green  and  purple  do  not  make  blue ; yellow  and 
red  make  orange,  but  we  cannot,  by  adding  any  color, 
bring  back  the  orange  to  yellow.  Further,  we  find  that, 
the  more  we  mix  and  combine,  the  more  muddy  and  far 
from  pure  tints  are  our  combinations  ; while,  on  the  other 
hand,  the  closer  we  stick  to  blue,  red,  and  yellow,  and 
their  simple  secondary  combinations,  the  purer  and  richer 
are  our  effects. 

Now  this  would  be  perfectly  simple  and  clear,  if  there 
existed  in  Nature  or  in  any  paint-box  a tint  or  a pigment 
which  could  really  be  agreed  upon  as  pure  blue , another 
pure  yellow,  another  pure  red.  This  is  not  the  case ; 
for  there  are  many  reds,  many  blues,  many  yellows.  No- 
body has  any  doubt  about  white,  pure  white  (although, 
to  be  sure,  it  is  seldom  seen),  and  anyone  who  has  bumped 
her  head  against  a door  in  the  dark  has  a tolerable  knowl- 
edge of  black;  but  if  blue  is  mentioned,  you  ask,  “What 
blue?” 

The  explanation  of  this  is  that  nothing  is  perfect  in  this 
world.  There  is  some  alloy  in  the  purity  or  completeness 
of  everything,  but  no  uncertainty,  no  vagueness.  Take 
all  the  blues  you  can  find  in  the  colormen’s  lists,  or,  just 
as  well,  bits  of  ribbon  cut  from  all  the  blue  ribbons  in  a 
large  assortment.  You  may  pick  out  of  a dozen  or  twenty 
such  patterns  the  one  you  consider  nearest  to  true  blue. 
This,  of  course,  will  be  the  one  least  like  purple,  and,  at 
the  same  time,  least  like  green  ; in  other  words,  the  one  in 
which  yellow  and  red  are  most  conspicuously  absent. 


OIL  AND  WATER-COLOR  PAINTING. 


99 


Study  the  other  blues  ; they  differ  from  this  one  only  in 
more  red  and  more  yellow  than  this  one.  What  else 
could  they  have  in  them  ? What  else  is  there  for  them  to 
have  ? Their  degrees  of  dark  and  light  do  not  alter  their 
tint. 

There  is  an  especially  great  variety  in  the  reds,  which 
range  from  purplish  tints  and  those  shown  in  “ burnt  car- 
mine ” through  fiery  scarlet  to  the  verge  of  orange.  Hut 
these  modifications  are  all  due  to  the  presence  of  blue  or 
yellow,  probably  both.  Blue  alone  makes  red  into  purple  ; 
but  blue  does  not  turn  vermilion  into  purple,  for  the  rea- 
son that  there  is  so  much  yellow  in  vermilion  that  it 
counteracts  the  purple  tendency.  To  make  a good  purple, 
therefore,  select  a red  with  but  little  yellow  in  its  compo- 
sition ; for  you  want  to  keep  the  third  element  out  of  a 
secondary  combination.  On  the  other  hand,  to  make  a 
good  orange,  select  a red  without  blue  tendencies,  for  you 
want  to  keep  clear  of  bluish  effects  in  the  orange. 

The  pigments,  therefore,  must  be  studied  carefully,  as  I 
said  before,  to  keep  their  true  place  in  the  scale  of  color, 
in  order  to  be  used  rightly  in  combination,  for  they  are  all 
more  or  less  away  from  the  standard  of  their  pure  tints. 
If  it  were  not  so,  we  should  lack  the  delightful  variety  of 
every  conceivable  grade  of  color,  running  from  one  into 
another  till  their  lines  are  lost.  It  would  be  dreadful  to 
live  in  a world  of  simple,  primary  colors,  where  everything 
was  divided  off  into  red,  blue,  and  yellow,  unmodified,  like 
living  inside  of  stained  glass  all  the  time,  or  sitting  in  the 
middle  of  a kaleidoscope  pattern  that  refused  to  change. 
For  the  tints  of  Nature  are  alloyed  everywhere.  It  is  rare 


100 


SELF-INS TR  UCTI VE  LESSONS. 


to  find  a petal,  strictly  speaking,  of  absolute  blue;  and, 
although  we  speak  of  the  quantity  of  red  flowers,  there  is 
a long  difference  between  clovers  and  poppies  in  tint. 
This  very  lack  of  uniformity  in  the  tints  of  Nature  makes 
her  charm.  Therein  lies  the  subtlety,  so  difficult  to  seize, 
which  alone  makes  painting  worth  pursuing.  Who  would 
live  in  a world  with  a Prussian-blue  sky,  Turkey-red  sun- 
sets, and  foliage  of  Hooker's  green  ? But  nature’s  tints 
are  always  pure,  never  muddled  or  vaguely  combined. 

It  must  be  now  seen  that  in  calling  the  primary  colors 
primary  there  is  no  attempt  at  setting  these  colors  above 
the  rest,  or  giving  them  any  extra  individuality.  Green, 
purple,  and  orange  are  as  pure,  are  as  much  colors  as  the 
other  three  ; simply,  for  convenience  in  studying  to  com- 
bine tints,  we  must  take,  to  start  with,  those  that  will  com- 
bine. If  green  and  purple  would  combine  to  make  a dis- 
tinct, good  color,  or  if,  by  any  accident,  this  color  should  be 
red,  they  could  be  accepted  as  “primary”  colors  ; but  it  is 
not  so.  On  the  other  hand,  purity  and  richness  of  color 
is  saved  only  by  adhering  to  the  first  tints  with  but  slight 
additions  of  the  others. 

Especially  in  decoration,  let  reds,  blues,  and  yellows  be 
employed  in  pleasing  contact  with  their  complementary 
tints.  These  combinations  will  always  be  enhanced  by  the 
judicious  addition  of  black  or  white  — perhaps  of  both  — 
and  of  gold,  which  has  a quieting  effect,  very  different 
from  yellow,  at  the  same  time  that  it  enriches  the  colors 
near  it. 


LIGHT  AND  SHADE. 


Materials  for  Chapter  IX. 

Charcoal  or  Lead-Pencils.  Stumps.  Cube. 

Although  this  chapter  is  one  for  the  eye  and  judgment, 
the  reader  may  practise  drawing  both  the  cube  and  cylin- 
der in  different  positions,  also  in  painting  the  same  in 
light  and  shade  from  the  instructions  given  in  Chapter 
VII. 


102 


LIGHT  AND  SHADE. VALUES. 

The  term  “ values  ” is  so  valuable  that  it  has  come  into 
general  use,  but  it  is  not  always,  even  when  used,  clearly 
understood.  The  whole  matter  of  light  and  shade  is  a 
very  simple  one.  It  should  be  carefully  studied  by  all 
amateurs  as  well  as  artists,  for  it  underlies  all  effects  of 
color  as  well  as  of  black  and  white  work.  Charcoal  is  so 
easy  a medium  to  work  with,  and  illustrates  so  sharply 
the  laws  of  effect  in  black  and  white,  that  it  is  now  chiefly 
used  in  teaching  about  values  of  darkness  and  light,  but 

103 


104 


SELF-INS TR UCTIVE  LESSONS 


all  the  rules  for  its  use  apply  with  even  more  force  to 
working  in  colors. 

A cube  painted  white,  which  is  held  as  the  first  model 
for  students  drawing  from  objects,  is  the  best  thing  to  use 
in  illustration.  However,  a square  white  pasteboard  band- 
box  will  answer  just  as  well  for  this  chapter,  which  treats 
only  of  values  and  not  of  form. 


Place  it  near  a window  where  the  light  will  strike  it 
upon  the  left,  and  where  no  other  window  is  behind  or  on 
the  other  side.  It  must  be  on  a low  chair,  so  that  you  can 
see  the  top  when  you  are  sitting  at  a little  distance,  and  it 
should  stand  on  a platform  of  gray,  and  have  a gray 
background.  The  junk-board  on  which  drawing  blocks 
are  made  is  a good  color  for  this  purpose,  and  if  you  have 
two  old  ones,  left  after  the  blocks  are  used  up,  put  one 
beneath  the  cube  and  the  other  behind  it.  This  junk- 


OIL  AND  WATER-COLOR  PAINTING. 


105 


board  may  be  had  of  any  bookbinder.  This  exercise  is 
one  for  the  eye  and  judgment  merely,  so  you  will  require 
no  pencils  or  other  materials,  only  have  your  wits  about 
you.  The  front  side  of  the  cube  is  white,  is  it  not  ? Mark 
that  1 in  your  mind,  as  the  “highest  light”  “highest 
value,”  or  “value  No.  1.”  Now  look  seriously  at  the 
subject,  which  includes  not  only  the  cube  itself,  but  its 
background,  platform,  and  shadow  cast  upon  the  platform. 
Which  of  these  is  darkest  in  tone  ? Probably  the  shadow 
cast  by  the  cube.  Mark  this  5 in  your  mind.  The  top 
of  the  cube  is  the  “ value  ” next  in  lightness  to  the  white 
side.  Mark  that  2.  Probably  the  platform  nearly 
matches  this  top  both  in  color  and  value ; mark  that 
therefore  also  2.  The  background  behind  the  cube  comes 
next.  Make  sure  that  it  does  by  comparing  it  with  the 
top  of  the  cube.  If  the  top  appears  lighter  than  the  back- 
ground, then  it  is  2,  and  the  background  is  3.  The  side 
of  the  cube  is  darker,  — undoubtedly  darker  — than  the 
background,  do  not  you  think  so?  Very  well,  then  it  is 
4 ; and  5,  previously  marked  as  the  value  of  the  shadow, 
comes  now  as  darkest  of  all. 

Here,  then,  are  five  values : 1.  The  highest  light.  2. 
The  second  tone.  3.  The  tone  for  the  background. 
4.  The  darkest  part  of  the  object.  5.  The  cast  shadow. 

As  I am  not  sitting  by  you,  I cannot  be  sure  that  these 
numbers  will  fall  upon  the  same  parts  of  your  cube  as  of 
mine ; but  that  will  be  all  the  better,  as  it  gives  you  some 
freedom  of  judgment.  The  thing  is  to  seek  then  five 
different  shades,  and  to  recognize  that,  at  least  in  this 
simple  subject,  it  is  enough  to  have  five  values  by  which 


106 


SELF-  INS TR  UC TI VE  LESSONS. 


to  represent  them.  Suppose  you  had  the  idea  of  working 
this  pleasing  design  in  worsted.  At  a shop  they  would 
show  you,  in  Berlin  wools,  endless  gradations  of  hue 
between  black  and  white,  very  lovely  to  look  upon ; but 
you  would  not  think  of  buying  fourteen  or  fifteen  different 
shades  to  work  the  design  with.  You  Avould  choose  white 
for  the  lightest,  black  for  the  darkest,  and  certainly  no 
more  than  three  even  tones  between  them,  to  represent  the 
other  parts.  You  might  have  six,  in  order  to  give  the  plat- 
form a separate  shade  for  itself ; but  you  would  think  it 
hardly  worthwhile,  as,  on  the  whole,  it  would  be  more  har- 
monious to  have  it  the  same  as  the  top  of  the  cube.  Har- 
mony also  makes  the  difference  between  one  and  another 
about  equal  from  one  to  live.  1 mean  there  is  about  as 
much  difference  between  1 and  2 as  between  2 and  3, 
between  3 and  4,  and  between  4 and  5.  In  selecting 
your  wools  you  would  endeavor  to  grade  them  harmo- 
niously, so  that  the  live  would  lie  together  with  even 
differences  between  them,  like  the  rungs  of  a ladder,  with 
white  at  one  end  and  black  at  the  other. 

Moreover,  observe  that  on  the  cube  itself  there  are 
but  three  values  : 1.  The  highest  light.  2.  The  half-tone. 
3.  The  deepest  dark. 

So  that  if  there  were  but  one  gray  wool  in  the  shop 
about  half  way  between  black  and  white,  you  could  get 
along  very  well  by  using  the  gray  for  the  top  of  the 
cube,  and  the  platform  white  for  the  light  side,  black  for 
the  dark  side  and  shadow,  and  leaving  the  background 
white. 

Now  this  is  the  long  and  short  of  the  study  of  values  in 


OIL  AND  WATER-COLOR  PAINTING. 


107 


their  application  to  the  subject  of  light  and  shade.  Every 
object  that  the  sun  shines  upon  has  at  least  three  val- 
ues: 1.  Its  highest  light.  2.  Its  half-tone.  3.  Its  deepest 
dark. 

No  matter  how  many  colors  may  be  displayed,  each 
and  all  of  them  must  obey  this  law  of  values.  To  return 
to  our  shop, — all  the  shades  of  different  tints  upon  the 
shelves  are  dyed  in  different  values,  the  two  extremes  of 
which  correspond  to  black  and  white,  with  many  gradations 
between.  If  you  wanted  to  work  the  cube  in  crimson,  you 
would  choose  five  shades,  pretty  evenly  gradated  among 
themselves,  or  you  could  do  very  well  with  three  if  they 
were  nicely  gradated.  If  you  were  working  a quantity  of 
cubes  of  different  colors,  you  would  strive  to  have  the 
highest  lights  all  of  about  one  value,  i.  e.,  probably  the 
lightest  you  could  find  in  the  shop ; and  the  darkest 
shade  of  each  color  you  would  wish  to  be  as  near  black  as 
possible,  otherwise  some  of  the  cubes  would  seem  to  be 
less  affected  by  light  and  shadow  than  others. 

In  looking  at  natural  objects,  then,  you  want  to  learn 
to  detect  the  underlying  lights  and  shades,  which  have 
nothing  in  common  with  local  color.  This  is  the  reason 
why  many  teachers  keep  their  pupils  working  in  black 
and  white  until  they  are  sure  to  have  mastered  the  “val- 
ues.” To  begin  well,  it  is  necessary  to  take  a simple 
subject  (and  our  cube  is  the  simplest),  and  to  place  it  in 
light  falling  from  one  direction  only.  Cross  lights,  from 
many  different  windows,  confuse  the  values,  and  so  con- 
fuse your  mind ; and  out-doors,  especially  at  noon,  the 
light  is  so  diffused  that  the  values  are  difficult  to  detect. 


108 


SELF-INS TR  UCTI VE  LESSONS. 


The  sharp  sides  and  angles  of  the  cube  divide  and 
define  its  values;  but  with  round  objects  it  is  not  so  easy 
to  distinguish  them.  To  prove  this,  you  have  only  to  put 
any  cylindrical  form  in  the  place  of  the  cube,  in  the  same 
good  light,  with  the  same  platform  and  background.  Let 
it  be  white  for  your  first  experiment.  A round  muff-box 
would  be  excellent.  Here  you  can  still  detect  the  values, 
blended,  however,  into  each  other  on  the  rounded  surface 
instead  of  being  sharply  interrupted  at  the  angles  of  the 
curve.  You  will  see  the  highest  light  a little  within  the 
edge,  the  deepest  dark  of  the  object  within  the  other  edge, 
the  cast  shadow  on  the  platform  probably  darker,  and 
between  the  highest  and  lowest  values  gradated  shades 
for  2 and  3. 

In  rounded  objects  we  detect : 1.  The  highest  light.  2. 
The  “ half-tone,”  between  the  dark  and  light.  3.  The 
darkest  part,  and  also  the  reflected  light  beyond  the 
darkest  part,  where  some  of  the  light  from  the  other  side 
of  the  object  is  brought  round  to  us  by  the  curved  sur- 
face. (This  is,  however,  probably  a little  darker  than  the 
half-tone.)  If  it  were  very  important  to  have  the  muff- 
box,  worked  in  worsteds,  very  round,  very  soft,  and  perfect, 
you  might  buy  the  fourteen  or  fifteen  gradated  shades 
between  black  and  white  to  work  it  with.  So  in  painting 
on  rounded  surfaces,  the  values  may  be  blended  into  each 
other  with  all  the  skill  and  delicacy  you  have  at  com- 
mand; but  take  care  not  to  lose  the  values  in  blending. 
If  your  darkest  tint  runs  into  the  half-tones,  you  have 
destroyed  the  balance  of  values;  so  also  if  you  lead  the 
half-tone  over  the  highest  light.  It  is  because  charcoal  is 


OIL  AND  WATER-COLOR  PAINTING. 


109 


so  easy  to  manage  that  it  is  useful  for  studying  values ; to 
make  a rounded  form  you  may  cover  it  all,  first,  with  a 
flat  value,  No.  2.  Then  overlay  the  darkest  part  with 
No.  3,  and  take  out  a place  for  No.  1,  Avith  bread  or  a clean 
stump.  There  are  tAvo  faults  in  the  management  of  val- 
ues, both  extremes  to  be  avoided  • — - 

1.  That  of  having  too  feAv,  and  keeping  to  them  so 
rigidly  as  to  make  everything  you  draAv  look  like  the  cube, 
as  if  it  Avere  chopped  out  Avith  an  axe  This  has  the 
merit  of  shoAving  you  have  considered  the  values,  and 
made  them  right  as  far  as  they  go,  but  is  scarcely  pleasing. 
2.  Of  losing  sight  of  the  Aralues,  even  were  they  once 
established,  in  the  effort  to  soften  and  round,  and  vie  Avith 
Nature  in  delicate  gradations ; thus  your  work  loses  you 
the  credit  of  knowing  anything  about  the  matter,  and 
you  please  no  better  than  the  other. 

The  Avhole  subject  of  light  and  shade  is  less  important 
in  decoration  than  in  other  artistic  work,  because  flat 
effects,  i.  e.,  without  shadows,  are  best  for  decoration. 
The  use  of  good  values  gives  relief  to  the  objects  repre- 
sented, and  makes  them  stand  out  like  real  ones  from 
their  background.  Real  things  could  not  stand  out  dis- 
tinct from  others  behind  them,  Avere  it  not  for  the  vari- 
ations of  light  and  shade  upon  their  surface,  as  you  may 
see  in  any  out-doors  scene  when  a broad  sunshine  inun- 
dates it.  If  you  are  so  placed  as  to  see  no  cast  shadows, 
you  can  scarcely  distinguish  fences  from  roads,  or  pumps 
or  carts  from  the  houses  behind.  On  a decorated  surface 
you  do  not  care  particularly  to  have  the  design  look 
raised  up,  in  relief,  and  especially  you  Avant  not  to  have 


110 


SELF-INS TR  UCTI  VE  LESSONS. 


the  shadows  of  it  fall  in  one  set  direction,  for  this  would 
always  be  wrong  on  one  side  of  the  room. 

In  decorating,  therefore,  we  rely  on  the  effect  of  flat 
surfaces  imposed  upon  contrasting  backgrounds  ; but  it  is 
necessary  to  talk  about  values,  and  to  understand  what 
we  are  talking  about,  in  order  to  regulate  high  lights  and 
deep  darks  The  term  “local  color”  is  also  a useful  one. 
It  means  the  actual  color  of  any  object  unaffected  by 
bright  light  or  deep  shadow.  The  local  color  of  a wild 
rose  is  pink,  the  local  color  of  a dandelion  is  yellow,  and 
these  terms  may  be  more  closely  defined.  Bright  light 
has  the  effect  of  hiding  or  removing  the  local  color  it 
strikes  upon,  as  is  seen  conspicuously  in  the  reflected 
lights  upon  the  iris  of  the  human  eye  or  the  window- 
pane  I have  before  referred  to,  reflected  on  dark  glass. 
Thus  the  highest  value  most  effective  is  pure  white,  or 
white  very  slightly  tinged  with  yellow.  On  the  other 
hand,  the  local  color  is  wholly  lost  in  the  very  darkest 
part,  and  influenced  by  the  darkest  value  as  it  gradually 
emerges  towards  the  light.  Therefore  the  local  color  of 
any  object  must  be  sought,  and  will  be  found,  between  the 
highest  light  and  the  darkest  tint;  and  when  I speak  in 
this  book  of  the  local  color,  I mean  the  tint  so  found, 
unaffected  bjr  shadow  and  unextinguished  b}r  bright  light, 
more  simply  what  we  all  call  the  “ color  ” of  anything. 


WATER  COLORS. 


Materials  for  Transparent  Water-Colors. 


Pencil  No.  F. 

Box  of  Water-Colors. 
Brushes. 

Rule  or  Measuring-Card. 
China  Slant. 
Drawing-Board. 


Sponge. 

Blotting-Paper. 

Thumb-Tacks. 


Old  Bags. 


Two  Tumblers  of  Water. 
Gelatine. 


Block  of  Paper. 

All  of  the  articles  enumerated  above  may  not  be 
called  into  use  in  this  chapter,  but  will  be  required  later, 
in  Chapter  XV. 

In  Chapters  VII.  and  VIII.  instructions  for  combining 
and  mixing  colors  have  been  given.  The  object  of  the 
following  chapter  is  to  teach  their  application.  Expensive 
materials  will  not  be  required  for  any  practice-work : the 
same  box  of  colors,  a No.  7 camel’s-hair  brush,  and  a 
block  of  log-paper,  will  be  sufficient.  The  block  of  paper 
(10  X 14),  referred  to  in  Chapter  X.,  would  cost  about 
$1.70  ; the  log-paper,  which  is  much  less  expensive,  will  do 
quite  as  well  to  begin  with. 

There  are  several  colors  mentioned  in  the  same  chapter, 
which  will  not  be  found  in  the  “ Decorative  Art  Color  Box.” 
These  will  not  be  absolutely  necessary  in  learning  how  to 


112 


OIL  AND  WATER-COLOR  PAINTING. 


113 


use  and  apply  colors,  as  the  box  contains  mixing  direc- 
tions for  making  any  combinations  required  for  that  pur- 
pose. It  will  be  a good  plan,  however,  to  have  the  extra 
colors  mentioned,  especially  if  the  reader  wishes  to  study 
the  effects  of  new  combinations ; with  one  exception,  they 
are  what  are  called  “extra  colors”  (so  called  from  their 
higher  cost).  Some  of  them  cannot  be  successfully  imi- 
tated, as  has  been  the  case  with  the  colors  in  the  box : for 
this  reason,  such  colors  as  Rose  Madder,  Indian  Yellow, 
French  Blue,  etc.,  should  be  the  original  productions,  and 
not  imitations,  if  they  are  to  be  used  to  test  their  capacity. 

In  this  connection  perhaps  it  will  be  well  to  explain  the 
difference  between  what  are  called  common  (low-price) 
and  extra  (high-cost)  colors.  The  difference  in  price  is  not 
that  one  is  a superior  quality  of  the  other,  as  many  might 
suppose,  but  is  in  the  value  of  the  material  from  which  it 
is  produced.  The  cost  of  a color  is  no  indication  of  its 
value  to  the  artist:  viz.,  of  the  yellows,  gamboge  is  a low- 
price  color,  cadmium  is  expensive ; the  reason  being  that 
one  is  easily  obtained  in  any  quantity,  while  the  other  is  a 
scarce  article ; yet  gamboge,  the  cheaper  color,  is  the  most 
useful;  in  fact,  in  water-color  painting  it  will  be  found 
quite  indispensable. 

In  forming  combinations,  i.e.,  mixing,  a green  produced 
from  a mixture  of  French  blue  and  Indian  yellow  will  be 
quite  different  from  a green  composed  of  Prussian  blue  and 
gamboge,  and  for  some  effects  be  much  better  Each  com- 
bination supplies  a different  demand,  and  neither  will  take 
the  place  of  the  other;  but  the  principle  of  applying  colors 
which  is  here  intended  to  be  illustrated  can  be  learned 


114 


SELF-INSTRUCTIVE  LESSONS. 


just  as  well  with  the  common  colors  as  with  those  of 
higher  cost. 

Although  in  painting  on  silk,  velvet,  and  other  textiles, 
wet.  washes  will  not  be  used,  some  such  practice  with 
colors  will  he  desirable  for  general  information  in  their 
handling  and  management.  Whatever  is  learned  from 
this  employment  will  aid  one  in  acquiring  a knowledge  of 
any  style  of  painting,  as  well  as  in  mixing  and  combining 
colors. 

After  learning  how  to  lay  a flat,  even  coat  of  color,  the 
practice  may  be  extended  with  advantage  to  “ Outline 
Designs”  of  flowers  and  figures,  which  can  be  obtained 
especially  prepared  for  such  practice  with  water-colors. 
They  may  be  had  in  books,  or  on  cards  and  panels,  with 
directions  for  painting,  and  rules  for  mixing  colors. 

The  “ Transferrins'  Designs  ” can  also  be  used  for  the 
same  practice : indeed,  we  think  that  those  who  intend 
using  these  designs,  instead  of  relying  on  their  own  skill 
in  drawing,  will  find  it  a great  help  to  first  make  a trans- 
fer of  the  pattern  which  they  intend  to  paint,  to  paper,  and 
paint  it  with  water-colors  before  attempting  to  paint  it  on 
more  expensive  material. 

General  Remarks  on  Chapter  X. 

As  this  is  the  most  important  chapter  in  the  book  for 
beginners,  we  will  offer  a few  suggestions  in  the  hope  of 
saving  trouble  and  expense  in  useless  experiments.  Al- 
though we  claim  to  teach  bow  to  paint  on  silk,  satin,  etc., 
it  is  not  to  be  expected  that  those  who  have  had  no  expe- 
rience in  painting  will  commence  with  practising  on  such 


OIL  AND  WATER-COLOR  PAINTING. 


115 


expensive  material,  and  the  following  chapter  has  been 
written  as  preparatory. 

In  the  first  place,  follow  the  directions , that  is,  if  yon 
intend  to  hold  us  responsible  for  any  failure.  We  have 
not  the  space  to  give  in  detail  the  reason  for  everything 
directed;  but  there  is  one,  nevertheless ; for  instance,  we 
advise  the  use  of  a number  7 brush  in  the  practice  of 
laying  smooth,  even  tints  of  color.  Years  ago,  water- 
color  painting  was  taught  with  a comparatively  dry  brush, 
while  to-day  it  is  taught  with' a very  wet  brush.  You  are 
told  in  the  following  chapter  to  fill  your  brush  full  of 
color,  begin  in  the  upper  left-hand  corner,  painting  from 
left  to  right,  pressing  lightly,  so  as  to  squeeze  out  the 
color  as  you  carry  the  brush  along.  This  will  leave  a 
little  pool  hanging  on  the  lower  edge ; now,  when  you 
carry  the  brush  back  to  the  left  side  again,  it  must  con- 
nect with  the  pool  left  after  the  first  sweep  of  the  brush, 
which  will  join  and  run  into  it,  forming  a new  pool  a little 
further  down  on  the  paper.  This  pool  is  to  be  carried 
down  by  continuing  the  process  and  adding  more  color 
from  time  to  time,  being  sure  not  to  exhaust  all  of  the 
color  in  the  brush  before  taking  up  more,  until  the  entire 
space  has  been  covered ; then  take  up  the  color,  if  any  is 
left,  as  directed.  When  this  is  dry  it  will  present  an 
even  tint  of  color. 

Now  suppose  you  do  not  follow  directions,  thinking, 
perhaps,  that  one  brush  is  as  good  as  another ; and  as  all 
beginners  seem  to  have  the  idea  that  a small  brush  is 
easier  to  work  with,  try  that ; you  will  find  that  the  color 
will  dry  as  fast  as  you  can  lay  it  on,  but  you  won’t  mind 


116  SELF-INSTRUCTIVE  LESSONS. 

that  as  long  as  you  imagine  you  are  following  directions. 
When  the  lesson  is  finished  it  will  be  anything  but  a flat, 
even  tint,  because,  every  time  one  band  of  color  dries 
before  being  joined  by  the  next,  it  will  leave  a streak. 
There  is  no  objection  to  the  pupil’s  trying  both  ways, 
and  if  he  finds  the  results  as  we  have  stated,  be  satisfied 
to  continue  and  follow  our  directions  until  he  has  had 
practical  experience  sufficient  to  enable  him  to  invent 
some  better  way. 

There  is  no  mechanical  method  for  laying  a flat  wash ; 
it  must  be  learned  by  practice  in  the  way  directed  by  Miss 
Hale.  Other  information  on  the  subject  may  be  found  in 
“Introductory  Lessons  in  Drawing  and  Painting  in  Water- 
colors,”  by  Marion  Kemble. 


CHAPTER  X. 


TRANSPARENT  WATER-COLORS,  OR  MOIST  COLORS. 

In  order  to  use  transparent  colors  effectively,  a good 
deal  of  practice  is  required  in  wet  washes.  This  practice 
is  very  good  for  acquiring  skill  in  the  use  of  any  sort  of 
color  with  the  different  mediums,  and  it  is  therefore  well 
to  begin  here  in  our  practical  lessons.  If  you  are  beginners 
in  all  Art  work  you  will  do  well  to  try  some  preliminary 
practice  of  this  sort  before  attempting  decoration  upon 
any  material ; for  working  upon  silk,  satin,  or  any  textile 
with  the  brush  presents  enough  difficulties  even  after 
the  first  awkwardness  of  handling  colors  has  been  over- 
come. Meanwhile,  as  you  practise  transparent  washes, 
you  will  at  the  same  time  become  familiar  with  various 
colors  and  their  combinations,  applying  the  laws  of  color 
given  in  Chapters  VII.  and  VIII.,  and  will  moreover  lay 
the  foundation  for  painting  in  water-color  in  its  higher 
branches,  — landscape  from  nature,  the  realistic  ‘rendering 
of  flowers,  and  objects,  figures,  even  portraits,  from  life. 

117 


118 


SELF-INS TR  UCTI VE  LESSONS. 


It  is  generally  conceded  now,  I believe,  that  water-color 
is  the  simplest  of  the  methods  of  painting,  in  convenience 
and  lightness  of  materials,  and  the  most  difficult  of  all  to 
bring  to  perfection.  The  extreme  rareness  of  the  best 
works  in  water-colors  may  well  discourage  amateurs  from 
embarking  upon  so  difficult  an  enterprise  as  thoroughly 
acquiring  the  art;  on  the  other  hand,  the  beginning  is  so 
easy,  that  many  find  themselves  launched  and  away  ; after- 
wards the  employment  is  so  attractive,  and  each  wave  car- 
ries them  so  little  farther,  that  they  find  themselves,  before 
they  know  it,  in  deep  water. 

In  detail,  there  are  many  points  that  recommend  water- 
color  in  preference  to  oils.  The  smell  of  oil  and  turpentine 
is  absent ; water,  if  upset,  creates  only  the  confusion  of  a 
moment,  and  leaves  no  serious  consequences.  The  box  of 
colors  is  compact,  and  a block  or  drawing-board  compara- 
tively light.  Then,  too,  the  process  is  shorter.  A water- 
color  may  be  completed  or  spoiled  in  a couple  of  hours. 
The  washes  dry  rapidly,  and  may  be  overlaid  without  de- 
lay, whereas  oil  pictures  must  be  left  to  dry,  to  be  resumed 
on  a subsequent  occasion.  Besides,  a bad  water-color,  a 
total  failure,  may  be  torn  up  and  thrown  in  the  fire  on  the 
spot,  and  all  evidences  of  its  existence  removed;  whereas 
an  oil  painting,  the  worse  it  is,  the  longer  it  survives,  it 
would  almost  seem ; for  dreadful  blotches  of  untrained 
beginners  are  constantly  turning  up  from  quiet  corners  to 
which  they  have  been  relegated,  to  the  despair  of  their 
perpetrators.  Oil-can vasses,  to  be  sure,  may  be  painted 
over  and  over,  as  the  surface  grows  better  when  overlaid 
with  paint.  All  these  things  are  in  favor  of  water-colors. 


OIL  AND  WATER-COLOR  PAINTING. 


119 


Though  the  beginning  is  easy,  it  should  he  carefully 
learned ; for  if  the  first  steps  are  not  taken  faithfully,  and 
with  much  repetition,  no  good  will  follow  as  the  work  be- 
comes more  difficult. 

Wet  your  block  with  a sponge,  always,  as  soon  as  you 
have  your  materials  collected,  ready  to  begin.  This  will 
make  it,  probably,  just  dry  enough  by  the  time  you  are 
ready  to  paint.  It  should  he  damp,  but  not  so  wet  as  to 
be  shiny  when  turned  towards  the  light.  Rule  spaces  the 
size  and  shape  of  a postal  card  by  marking  them  with  a 
pencil  all  over  the  block.  There  will  be  room  for  six  on 
a 14 -f-1 0 block,  leaving  a little  margin  for  each. 

With  a good  large  brush  that  has  a nice  point,  filled 
with  water,  transfer  plenty  of  cobalt  from  the  top  of  its 
pan  to  the  palette  connected  with  the  box,  or  a china  slant, 
and  keep  clipping  water  from  the  tumbler  to  the  palette, 
and  adding  cobalt,  until  you  have  a pool  of  pale  blue.  At 
the  very  outset  learn  to  transfer  water  to  the  palette  with- 
out discoloring  the  whole  tumbler  with  blue.  This  wastes 
the  color,  and  is  quite  unnecessary.  Do  not  shake  the 
brush  round  in  the  water,  but  dip  it  in  and  swiftly  with- 
draw it  filled.  Have  the  palette  close  to  the  tumbler. 
Put  something  under  your  drawing-block,  so  that  it  may 
be  slightly  inclined ; the  top  should  be  an  inch  or  so  higher 
than  the  bottom. 

Fill  the  brush  with  this  pale  color,  and  cover  one  of  the 
spaces,  beginning  in  the  left-hand  upper  corner  and  paint- 
ing from  left  to  right,  pressing  lightly  but  firmly  on  the 
brush,  to  squeeze  out,  as  it  were,  all  the  color  it  holds. 
Paint  along  the  pencil  edge  at  the  top  with  the  point  of 


120 


SELF-INSTRUCTIVE  LESSONS. 


your  brush,  and  then  lead  the  color  in  a broad  band  across 
the  upper  part  of  the  space,  shaping  the  corners  well.  The 
color  should  be  laid  on  so  wet  that  a line  of  wet  drops,  a 
continuous  pool  of  blue,  hangs  on  the  lower  edge.  Refill 
your  brush,  and  begin  again  on  the  left,  just  below  the 
band  of  color,  touching  this  pool  with  the  point  of  the 
brush,  blit  not  stirring  round  in  it.  The  color  of  itself 
will  join  your  new  color  and  run  down  into  it.  Paint 
across  another  broad  band  of  blue,  always  joining  the  last 
lightly  at  the  edge;  and  so  on  until  you  have  arrived  at 
the  bottom  of  the  space. 

One  of  two  things  is  sure  to  happen.  Either  your  color 
will  give  out  and  you  will  be  streaking  over  the  paper, 
trying  to  make  both  ends  meet,  or  there  will  be  too  much 
when  you  reach  the  bottom,  and  a long  puddle  of  blue 
hanging  over  the  edge  of  the  lower  pencil  line. 

In  the  first  case,  do  not  fear  to  mix  more  color,  for 
there  is  no  hurry;  if  your  tint  is  not  enough  on  the  paper, 
you  can  prepare  more  by  dipping  water  and  adding  cobalt 
from  the  paint.  You  will  be  wise,  however,  to  mix  a good 
deal  of  color  before  beginning,  so  as  to  have  enough.  In 
the  second  case,  when  the  bottom  is  reached,  dry  your 
brush  a little  by  passing  it  over  the  damp  sponge,  and  you 
will  find  it  empty  enough  to  soak  up  the  superfluous  color, 
so  that  you  can  lead  it  about  anil  fill  the  corners  accurately 
and  well.  One  object  of  this  lesson  is  to  practise  filling 
the  space  close  up  to  the  edges,  without  going  over  or 
leaving  them  jagged  ; in  flat  decoration,  later  on,  when 
you  have  irregular  surfaces  to  cover,  you  will  be  glad  of 
all  previous  practice.  If  the  color  has  run  over  at  the 


OIL  AND  WATER-COLOR  PAINTING. 


121 


bottom,  and  seems  inclined  to  go  coursing  down  the  block, 
seize  a piece  of  blotting-paper  and  lay  it  on  the  block, 
with  the  straight  edge  along  the  lower  pencil  line,  the  rest 
of  the  blotting-paper  below.  Press  it  firmly  down  with 
your  hand,  as  you  would  to  dry  a signature,  and  it  will 
take  up  the  color  outside  the  space  and  leave  a good 
line. 

Try,  however,  to  make  the  color  arrive  where  it  should 
without  the  use  of  blotting-paper.  Practise  laying  on  flat 
tints  until  you  can  master  the  wet  color  flowing  down 
the  space.  It  is  not  well  done  unless  the  space  presents  a 
perfectly  even  surface  of  one  tint,  exactly  as  if  cut  out  of 
colored  paper.  You  may  fill  some  of  the  spaces  with 
yellow  ochre,  and  others  with  rose-madder,  and  with  these 
three  tints  enforce  your  knowledge  of  the  complementary 
colors,  by  overlaying  one  tint  with  another  (after  the  first 
wash  is  dry),  and  by  putting  one  half  the  space  in  shadow, 
by  the  addition  of  the  necessary  complement. 

This  should  impress  upon  your  mind  that  cobalt,  rose- 
madder,  and  yellow  ochre  belong  together  for  one  range  of 
primary  colors  and  their  combinations.  The  purple  made 
of  rose-madder  and  cobalt  is  delicate  and  tender,  suitable 
for  hare-bells,  pale  violets,  and  the  like.  A little  yellow 
ochre  in  the  purple  will  make  a suitable  shadow-color  for 
such  flowers.  The  three  together  make  the  softest  of 
grays,  much  used  in  landscape  for  cloud-shadows,  and  far 
prettier  than  Payne’s  gray  for  all  the  gradations  of  delicate 
white.  You  may  of  course  make  it  warmer  with  rose, 
cooler  with  cobalt,  brighter  with  yellow  ; with  enough  yel- 
low you  can  make  any  “ brown  ’’  you  like.  I put  “ brown  ” 


122 


SELF-INS  TR  UC TI VE  LESSONS. 


in  quotation-marks  because,  as  generally  used,  it  is  such  a 
vague  term,  betraying  generally  a vague  idea  in  the  mind 
that  lays  hold  of  it  helplessly.  Vague  ideas  are  not  good 
in  painting.  If  you  do  not  know  yourself  exactly  what 
you  want  to  depict,  how  can  you  convey  an  idea  to  other 
people  ? 

Flat  tints  once  mastered,  you  may  try  gradating ; and 
for  this,  unless  you  have  spoiled  the  sheet  of  paper  you 
have  been  using  by  rubbing  or  some  mischance,  it  may  be 
washed  off  witli  plenty  of  pure  water  running  from  the 
faucet,  and  the  sponge  perfectly  clean. 

The  process  is  the  same,  only  as  you  go  down  the  space 
dip  the  tip  of  your  brush  in  water,  but  keeping  the  top  of 
it  full  of  blue  at  the  same  time,  and  with  this  paint  the 
second  stripe  across  the  space.  The  third  has  more  water, 
and  the  lower  part  should  be  done  with  pure  water,  the 
faint  remaining  blue  in  your  brush  shaken  out  in  the 
tumbler.  If  the  color  flows  well  down  the  space,  a gra- 
dated effect  will  show  itself,  darkest  at  the  top,  colorless 
at  the  bottom,  without  any  streaks  or  lines  of  demarcation 
between  the  grades  of  tint. 

Now  repeat  these,  only  narrower,  so  that  pure  water  ap- 
pears about  a third  down  the  square.  Into  the  very  wet 
long  pool  at  the  lower  edge  paint  a stripe  of  yellow  ochre. 
The  pool  will  affect  the  first  of  it  so  that  it  will  be  very 
pale,  but  the  second  stripe  will  be  darker,  if  your  brush  be 
full  of  good,  Avet  color.  Stop  using  yelloAV  ochre  before 
you  get  to  the  bottom,  and,  without  washing  your  brush, 
complete  the  space  with  rose-maclder.  The  yelloAV  ochre 
pool  will  run  into  the  rose,  also  influenced  by  the  yelloAV 


OIL  AND  WATER-COLOR  PAINTING. 


123 


left  in  the  brush ; so  that  not  pure  rose,  but  orange  made  of 
it  and  yellow,  will  appear  on  the  paper.  These  effects  of 
wet  color,  blending  themselves  upon  the  paper  without 
any  preliminary  stirring  together  on  the  palette,  are  the 
clearest  and  most  beautiful  of  water-color  effects.  The 
one  you  have  now  made  suggests  a sunset  sky,  and  this 
process  is  among  the  earliest  acquired  in  landscape  prac- 
tice. You  may  need  in  decoration  gradated  backgrounds 
prepared  in  exactly  this  manner ; and  you  will  do  well  to 
practise  long  upon  the  three  processes  just  described,  not 
allowing  yourself  to  be  satisfied  with  anything  short  of 
perfection. 

Another  set  of  primary  colors  which  belong  together  is 
the  one  of  Prussian  blue,  crimson  lake,  and  gamboge, 
with  which  you  studied  the  laws  of  complementary  colors. 
If  you  paint  a gradated  square  with  these  three,  you  will 
see  for  yourselves  how  much  more  vivid  and  pronounced 
is  the  effect  of  these  colors.  The  former  set  makes  tints 
suitable  for  delicate  backgrounds  and  delicate  flowers; 
this  one  is  better  for  the  local  colors  of  flowers  upon  light 
backgrounds.  As  Prussian  blue  is  a violent,  disagreeable 
color,  with  moreover  a bad  reputation  for  fading,  indigo 
is  better  to  use  with  this  set,  although  Prussian  is  more 
vivid.  Indigo  and  gamboge,  with  a little  crimson  lake, 
makes  a suitable  green  for  leaves  and  stalks,  and  the  green 
so  made,  with  enough  crimson  lake  added,  makes  a suit- 
able “brown"’  for  the  trunks  of  trees,  and  woody  stems. 
French  blue,  carmine,  and  Indian  yellow,  are  three  prima- 
ries still  richer  than  the  last  I mentioned.  The  two  first 
make  a rich  purple,  good  for  pansies ; Indian  yellow  added 


124 


SELF-INSTRUCTIVE  LESSONS. 


in  greater  or  less  quantity  makes  the  right  shadow  color 
for  purples,  and  gives  all  the  gradations  of  “brown”  need- 
ed for  their  infinite  variety. 

Many  of  the  large,  yellow  flowers  so  good  for  decora- 
tion— sunflower,  rudbeckia,  coreopsis,  and  so  on  — may  be 
painted  with  Indian  yellow,  shaded  and  enriched  with  the 
same  purple  made  of  French  blue  and  carmine.  There  is 
a pigment,  violet  carmine,  very  rich  and  delicious  in  a vel- 
vety effect,  for  purple  petals ; and  the  aniline  colors, 
mauve  and  magenta,  are  needed  for  certain  rich  tints. 
Neither  of  these  should  be  used  just  as  it  comes  from  the 
pan  or  tube ; but  modified,  to  match  the  petal  imitated, 
with  red,  blue,  or  yellow,  the  delicate  ones  for  delicate 
tints,  and  strong  for  rich  effects. 

There  are  other  paints  in  the  boxes  and  lists  of  colors, 
useful  to  have  if  properly  employed.  Light  red  is  a good 
and  effective  color,  very  different  from  crimson  lake,  from 
containing  so  much  yellow  effect.  For  this  reason  it  may 
be  regarded  as  a secondary  color  (orange),  and  so  used  in 
combination  with  blue  alone,  itself  furnishing  the  red  and 
yellow.  Thus  light  red  and  cobalt  makes  a lovely  gray, 
good  for  all  occasions  when  a ruddy  gray  — like  a sun- 
tinted  fog— is  wanted;  light  red  and  French  blue  make 
a good  color  for  old  wood  fences,  tumble-down  houses 
grown  gray  with  exposure.  In  these  combinations  one 
pigment,  i.  e.,  light  red,  furnishes  the  red  and  yellow  both. 
Most  of  the  browns  in  pans  and  tubes  are  secondary 
colors  by  nature,  if  not  manufactured;  you  may  use  them 
all,  if  you  like  them,  with  the  addition  of  some  little  blue, 
yellow,  or  red,  to  make  them  truly  complement  the  bright 


OIL  AND  WATER-COLOR  PAINTING. 


125 


color  they  are  to  go  with,  but  clo  not  use  them  without 
consideration. 

Vermillion,  scarlet  lake,  and  similar  reds,  made  of  lead, 
are  quite  likely  to  turn  black  in  time,  and  sometimes  soon. 
They  are  also  opaque  and  chalky,  and  it  is  better  to  avoid 
them.  Carmine  and  Indian  yellow  combined  make  the 
richest  possible  scarlet,  and  most  red  petals  can  be  made 
intensely  brilliant  by  some  gradating  of  more  or  less  yel- 
low with  more  or  less  carmine.  A little  brown  madder, 
or  burnt  carmine,  for  the  deeper  tints,  make  a delicious 
range  of  reds,  which  should  be  shaded  with  green  dropped 
into  the  wet  color.  Carmine  has  a bad  reputation  for 
fading,  but  it  will  last  long  enough  for  decorated  textiles 
which  are  evanescent  in  themselves. 


LIQUID  COLORS. 


Materials  for  Liquid  Colors. 

A set  of  Liquid  Colors,  Poonah  Brushes,  Camel’s-Hair 
Brushes,  Paper  for  practice  work,  Cloth  for  practice  work. 

Liquid  colors  are  in  reality  water-colors : they  differ 
from  what  have  already  been  described  under  the  name  of 
water-colors  in  the  coloring-matter,  which,  instead  of  being 
prepared  from  pigments  used  for  artists’  colors,  are  made 
from  colors  used  in  dyeing.  They  are  not  intended  to 
supply  the  place  of  artist  colors,  but  in  painting  on  tapes- 
try and  other  textiles  they  will  be  found  more  permanent 
than  the  regular  water-colors.  What  we  mean  by  perma- 
nent in  this  connection  is,  that  water  will  not  cause  them 
to  run : they  may  be  even  moderately  washed  without 
destroying  the  colors. 

The  method  of  using  “ Liquid  Colors  ” is  the  same  as 
has  been  described  in  Water-Color  Painting. 


128 


CHAPTER  XI. 

LIQUID  COLORS. 

Tapestry  painting,  which  will  be  described  later  in 
this  book,  is  really  dyeing  with  mordant  colors  by  scrub- 
bing liquid  color  into  the  textile  made  use  of,  so  that  the 
material  receives  and  absorbs  the  tints  which  become  a 
part  of  it.  The  dyes  are  so  strong  that  when  once  dry 
they  cannot  easily  be  removed ; and,  even  while  wet,  it  is 
troublesome  to  wash  out  spots  made  by  mistake  or  acci- 
dent. The  process  has  been  called  tapestry  painting,  be- 

129 


130 


SELF-INS TR  UCTI VE  LESSONS. 


cause  these  colors  have  been  used  to  imitate  old  tapestries, 
and  thus  they  were  brought  into  notice ; but  the  dyes 
employed  in  the  process  are  so  rich  in  tint,  and  so  desira- 
ble on  many  accounts,  that  they  are  likely  to  become  very 
useful  for  decorative  work.  They  are  colors  of  great  ten- 
acity, and  are  very  easy  to  manage,  as  they  combine 
readily  with  water,  and  may  be  used  just  as  transparent 
water  colors  are.  In  fact,  they  are  deliciously  transparent, 
The  objections  to  them  are,  first,  the  troublesome  form  in 
which  they  are  by  necessity  put  up.  They  come  in  glass 
bottles,  not  easy  to  transport,  and  they  must  be  kept 
tightly  corked  when  not  in  use.  The  corks  are  always 
breaking,  the  bottles  are  liable  to  upset,  and,  as  their  con- 
tents are  mordant  dyes  of  a violent  nature,  the  results  of 
an  overflow  are  disastrous  upon  carpet  or  table-cloth. 

Nevertheless,  they  are  coming  into  use  rapidly;  and 
somebody  must  invent  a more  convenient  way  of  putting 
them  up,  to  avoid  these  difficulties.  These  colors  deserve 
to  be  placed  next  to  water-colors,  as  the  method  of  using 
is  almost  precisely  the  same  as  theirs.  The  tints  are  so 
bright  that  they  are  even  more  vivid  by  artificial  light 
than  in  the  daytime ; this  makes  them  desirable  for  decor- 
ations which  are  to  be  seen  in  the  evening  as  well  as  at 
other  times.  Their  permanence,  however,  is  what  gives 
them  the  chief  advantage  over  ordinary  water-colors,  which 
disappear  and  run  at  the  approach  of  water  or  dampness. 
In  combination  with  embroidery,  charming  effects  may  be 
produced.  Curtains  and  bedspreads  of  washing  materials 
are  painted  in  natural  colors  of  flat  designs,  the  outlines 
of  petal  and  leaf  being  defined  by  “ outline  ” stitch  in 


OIL  AND  WATER-COLOR  PAINTING. 


181 


colors  closely  allied  to  the  tints  employed  in  painting  with 
the  dyes. 

To  use  the  colors  in  this  way  requires  but  little  skill  be- 
yond a general  knowledge  of  transparent  water-color,  as  the 
outlines  are  to  be  made  by  the  needle,  and  ordinary  care 
will  be  sufficient  to  ensure  the  complete  filling  of  spaces, 
and  to  avoid  the  over-spreading  of  color  beyond  these  out- 
lines. The  brushes  called  Poonah  brushes,  or  scrubs,  are 
the  best  for  scrubbing  in  the  dye.  A separate  one  should 
be  kept  for  each  color ; for  this  reason,  as  well  as  others, 
it  is  better  to  limit  your  subject  to  a range  of  a few  colors. 
A china  palette  divided  into  square  spaces  is  convenient 
for  holding  the  different  tints.  Pour  a very  little  of  each 
tint  you  are  to  use  into  one  of  these  shallow  squares,  not 
more  than  you  want  at  the  moment,  as  the  color  is  injured 
by  exposure  to  the  air,  and  therefore  wasted. 

Yon  had  better  practise  on  some  tiling  of  no  importance 
before  risking  the  new  method  on  valuable  material ; 
therefore,  for  experiment,  try  some  effects  first  on  your 
drawing  block.  The  paints  work  very  prettily  on  paper. 

Damp  the  block  as  before  for  the  lesson  in  Chapter  X., 
and  draw  carefully  upon  it  some  simple  forms  of  flowers 
and  leaves,  and  then  practise  scrubbing  in  the  color  with 
the  stumpy  brush.  It  must  be  dipped  evenly  into  the 
shallow  palette,  lifted  from  it  full,  and  set  down  square  on 
the  surface  to  be  tinted,  then  scrub  it  round  in  the  space, 
leading  the  tint  carefully  up  into  the  corners.  The  only 
trouble  about  the  process  is  doing  this  with  such  a clumsy 
brush ; and  you  may  take  a better-pointed  bristle  brush 
for  difficult  corners,  only  do  not  relinquish  the  scrubbed 


132 


SELF-INSTRUCTIVE  LESSONS. 


effect.  In  this  process  the  color  is  not  to  be  laid  o»,  but 
rubbed  in.  Leave  every  part  of  the  design  that  is  to  be 
white  untouched,  and  rub  in  the  lightest  shades  of  each 
color  first,  using  a separate  scrubber  for  each.  The  colors 
dry  fainter  than  they  appear;  therefore,  though  you  n i a}’ 
freely  dilute  them  with  water,  do  not  make  them  as  light 
as  the  tint  to  be  matched.  Scrub  the  color  well  in,  and 
do  not  attempt  any  gradation  of  tone,  but  apply  the  light- 
est color  in  a perfectly  flat  tint ; but  you  may  scrub 
another  layer  of  the  same  tint  on  the  first,  while  it  is  still 
wet,  which  will  give  a second  gradation  of  tone,  with  soft- 
ened edges.  By  doing  a block  full  of  small  squares,  you 
will  get  an  idea  of  the  different  colors,  which  do  not  all, 
in  the  bottle,  look  as  they  do  on  paper,  cloth,  or  canvas. 

Next,  try  the  same  process  with  any  of  Tilton’s  outline 
flower-designs.  They  look  very  pretty  tinted  in  this 
manner,  and  this  will  give  you  practice  in  handling  the 
scrub-brush.  This  must  be  held  upright,  at  right  angles 
to  the  paper  you  are  working  on,  which  had  better  be  laid 
flat  on  the  table,  for,  you  see,  the  flat  bottom  of  the  funny 
round  brush  must  touch  equally  the  surface,  as  if  you  were 
ironing  the  material  with  a little  rose-colored  flat-iron. 

Have  ready  a piece  of  strong  cotton  cloth,  damped  and 
stretched  on  the  frame  of  a drawing-board,  or,  better,  on 
an  embroidery  frame.  This  is  to  be  a sort  of  sampler,  or 
“ try-piece.”  Mark  it  out  with  squares,  or  spaces,  as  in 
Chapter  X.,  and  prepare  within  these  a kind  of  palette  of 
color ; that  is,  rub  in  different  colors  upon  the  separate 
squares.  Put  over  these  washes  of  the  same  tint  repeated, 
or  their  secondaries,  making  your  own  observations  as  to 


OIL  AND  WATER-COLOR  PAINTING. 


133 


the  quantity  of  color  to  be  used.  You  can  refer  later  to 
this  palette,  and  judge  from  the  most  successful  parts 
how  to  proceed  with  your  final  piece  of  work.  Do  not 
attempt  too  much  of  modelling  and  gradation,  but  select 
a design  to  be  filled  with  flat  tints  as  far  as  possible. 

You  had  better  repeat  your  first  designs  of  flowers  and 
leaves  on  some  “ try-piece  ” of  cloth  ; then  your  mind  will 
be  free  from  anxiety  as  to  the  result,  and  you  can  store  up 
experiences  for  future  work. 

When  the  flat  tints  are  in  and  dry,  — unless  the  work  is 
to  be  finished  in  embroidery,  — go  over  all  the  outlines 
with  a sable  brush,  and  paint  in  the  small  details,  such  as 
stamens  of  flowers,  veins  of  leaves,  etc.,  just  as  you  would 
in  any  other  painting.  The  outlines  may  be  made  in  the 
colors  of  the  part  they  run  round,  or  marked  in  some  dark 
color,  even  black,  if  you  like.  If  the  tints  are  perfectly 
flat,  the  latter  way  is  the  most  effective ; if  anything  real- 
istic has  been  attempted  in  the  modelling  of  the  petals 
and  leaves,  a dark  outline  should  be  avoided. 

On  cloth,  you  had  best  confine  yourself  to  simple,  flat 
tints  of  color,  outlined  with  a dark,  clear  line.  On  draw- 
ing-paper, however,  you  may  paint  just  as  you  would  in 
moist  colors,  as  well  as  you  know  how,  selecting  flowers 
of  the  most  brilliant  lines,  to  give  a chance  to  show  the 
bright,  rich  tints  of  the  colors.  They  come  out  with  great 
vividness  in  the  evening,  and  are  good,  therefore,  for  fans 
and  screens  likely  to  be  displayed  by  candlelight.  The 
last  touches  are  best  made  with  ordinary  moist  colors. 


GOUACHE  COLORS. 


Materials  foe  Gouache  Colors. 


A Set  of  Gouache  Colors,  or 
a substitute,  as  described 
in  the  chapter. 

Brushes,  Hog’s-Hair,  Nos.  1, 

2,  3,  4. 


Brushes,  Sable  or  Camel’s 
Hair. 

Blending-Fluid. 

Palette-Knife. 

Drawing  Board  or  Frame. 


Gouache  Colors. 


What  has  been  said  in  previous  chapters,  by  way  of  in- 
struction concerning  the  application  of  colors,  refers  more 
particularly  to  transparent  colors;  that  is,  colors  which 
do  not  hide  or  conceal  the  ground  or  material  on  which 
they  are  used,  but  allow  it  to  show  through  them.  This 
style  of  painting,  which  may  be  called  the  legitimate  water- 
color  painting,  of  course  appears  to  the  best  advantage  on 
white  or  colorless  grounds.  In  the  following  chapter  we 
come  to  opaque  colors ; that  is,  colors  which  do  hide  or 
conceal  the  ground  or  material  upon  which  they  are  used: 
consequently  they  may  be  employed  in  painting  on  colored 
grounds,  such  as  silks,  tinted  papers,  etc. 

The  general  management  and  application  of  gouache 
colors  is  quite  similar  to  oil-colors,  so  that  those  who 
learn  transparent  and  opaque  water-color  painting  will  ex- 
perience but  little  difficulty  in  painting  with  oil-colors,  or 
in  fact,  colors  mixed  with  any  medium. 


136 


OIL  AND  WATER-COLOR  PAINTING. 


137 


In  painting  one  color  over  another  with  gouache  colors, 
care  must  be  taken  not  to  disturb  or  mix  with  the  under 
color.  There  is  a knack  in  doing  this  which  can  only  be 
acquired  by  some  practice. 

The  instructions  for  combining  and  mixing  colors,  al- 
ready given,  will  apply  to  gouache,  oil,  and  colors  gener- 
ally. 

The  reader  may  practise  on  any  scraps  of  colored  silks, 
satins,  or  tinted  papers.  Plain  wall-paper,  which  is  quite 
inexpensive,  will  also  answer  ; it  can  be  had  of  any  color. 

Those  who  prefer  to  draw  their  own  designs  may  draw 
directly  on  the  material,  or  make  use  of  the  “Transferring 
Designs.”  If  the  latter  are  used,  and  the  painting  is  to  be 
done  on  silk  or  satin,  it  will  be  a good  plan  to  try  it  first 
on  paper  of  the  same  color : this  will  not  only  be  good 
practice,  but  will  enable  one  to  see  how  his  design  will  look 
when  completed. 

Glazing,  a word  frequently  used,  is  explained  in  the  list 
of  technical  terms. 


GOUACHE  OR  BODY  COLORS. 

Sets  of  gouache  paints  may  be  bought  in  bottles  or 
tubes,  all  prepared  for  working  in  opaque  color.  The 
word  is  a French  one,  and  commonly  applied  in  English 
to  opaque,  in  distinction  from  transparent  water-color. 
Except  that  the  medium  with  which  it  is  applied  is  water, 
it  is  more  closely  allied  to  oil-painting  in  the  method  of 
working  it.  It  may  be  said  to  have  the  merits,  or  rather, 
perhaps,  the  defects,  of  both  methods. 

Bristle  brushes,  like  those  employed  in  oil-painting,  are 
the  best  for  painting  in  body  color,  especially  for  the  first 
tints.  The  color  in  the  bottles  is  thick ; it  should  be 
taken  out  on  the  point  of  a knife,  and  mixed  on  the  pal- 
ette with  a palette-knife  (an  old  case-knife  will  do),  with 
water,  to  a smooth  paste.  Tilton’s  Blending  Fluid  is 

139 


140 


SELF-INS  TR  UC  TI VE  LESSONS. 


softer  and  better  than  water  as  a medium  for  gouaelie- 
colors,  especially  for  painting  on  textiles,  and  you  had 
better  have  it,  although  you  can  learn  to  do  without  it. 
It  is  to  be  used  instead  of  water  to  thin  the  color,  Avater 
being  used  still  to  wash  out  the  brush  when  changing  the 
color.  It  is  very  Avell  to  have  two  or  three  brushes,  one 
for  each  range  of  color.  These  will  be  enough  if  you 
keep  your  scheme  of  colors  simple,  that  is,  limited  to  tAvo 
or  three.  The  process  of  laying  on  opaque  colors  is  just 
the  reverse  of  that  used  with  transparent  color.  Opaque 
colors  are  best  employed  on  dark  backgrounds;  thus  it  is 
impossible  to  get  high  lights  by  leaving  the  natural  tint  of 
the  paper  or  other  surface.  Probably  all  the  values  but 
the  darkest  are  lighter  than  the  background,  so  that  they 
must  all  be  laid  on  with  the  paint. 

For  practice  the  brownish-gray  board  left  when  a block 
of  drawing-paper  is  used  up,  is  very  good,  which  I recom- 
mend as  a background  for  the  cube  in  Chapter  IX.,  i.  e., 
bookbinders’  or  junk  board.  The  neutral  color  is  agree- 
able as  a background  for  brighter  tints,  and  the  surface  is 
good.  Draw  some  design  upon  it,  taken  from  Tilton’s 
collection.  You  had  best  have  a subject  already  colored, 
to  imitate,  — a Christmas  card  which  pleases  you  will 
answer  perfectly  Avell.  With  a small,  flat,  bristle-brush 
lay  on  the  first  tint,  all  over  the  flower-petals.  This  tint 
is  not  the  highest  value,  as  I have  just  said,  nor  yet  the 
darkest,  but  the  half-tint,  or  local  color.  If  the  thin  liquid 
you  haAre  prepared  Avith  the  Blending  Fluid  is  not  light 
enough  to  match  this  tint,  add  Chinese  white,  mixing  it 
smooth  and  even  on  the  palette.  It  should  be  quite  liquid, 


OIL  AND  WATER-COLOR  PAINTING. 


141 


not  pasty,  and  tree  from  bubbles,  which  come  in  it  if  you 
stir  it  up  too  violently  with  the  palette-knife.  Do  not  stir 
it  with  the  brush  at  all.  Lay  this  all  on  the  flower,  and, 
while  it  is  drying,  paint  the  leaves,  in  the  same  way,  with 
another  brush,  and  greens  prepared  by  mixing  the  color 
with  a few  drops  of  Chinese  white,  and  Blending  Fluid. 

The  color  will  sink  in,  at  first,  in  drying,  and  disappoint 
you.  In  time  you  will  learn  to  mix  it  in  just  the  right 
thickness.  It  should  not,  however,  be  too  thick  in  this 
first  layer.  If  the  effect  is  semi-transparent,  with  some 
suggestion  of  the  under-tone  of  the  gray  board  shining 
through,  it  may  have  a pleasant  effect  of  transparent 
shading,  and  help  the  next  process,  which  is  modelling 
the  flower  with  a shadow  tone  made  according  to  the  rules 
of  complementary  color,  with  common  transparent  water- 
colors,  out  of  your  ordinary  box,  laid  on  with  a sable  brush, 
upon  the  dry  surface,  or  under-tone  first  prepared.  Paint 
lightly,  not  to  stir  up  the  opaque  color  beneath,  and  model 
your  flower  with  clear  forms;  that  is,  define  the  lapping 
over  of  one  petal  on  another  in  a good  shape,  that  will 
leave  the  under-tone  in  a good  shape  also,  to  express  the 
varied  surfaces  of  the  petal.  Leave  it  to  dry  while  you 
model  the  leaves.  The  stems  should  be  put  in  with  some 
green. 

If  now  the  color  of  the  flower  does  not  please  you,  on 
account  of  drying  too  light,  or  sinking  in  too  much,  you 
may  glaze  it  lightly  with  transparent  color ; that  is,  lay 
a thin  wash  of  whatever  color  will  bring  it  back  to  the 
desired  local  tint.  This  is  to  be  done  with  moist  color, 
and  a sable  brush.  Repeat  the  same  on  the  leaves.  Prob- 


142 


SELF-INS TR  UCTI VE  LESSONS. 


ably  the  darkest  tints  may  be  also  now  painted  with  your 
moist  colors,  and  softened  or  run  in  on  the  edges,  — not 
to  look  too  hard,  — but  you  cannot  stir  round  much  with- 
out disturbing  the  under-tone.  The  highest  lights  must 
be  laid  on  with  the  bristle-brusli,  and  with  gouache  much 
thicker  than  you  have  been  using  it.  Have  it  as  thick  as 
butter;  put  it  on  lightly,  loading  the  petal  with  color, 
which  will  look  well  even  if  it  is  raised  a little  from  the 
surface,  provided  it  is  applied  in  just  the  right  shape  to 
represent  the  raised  parts  of  the  flower.  Remember  that 
on  all  curved  surfaces  the  highest  lights  are  not  close  on 
the  edge,  but  a little  inside,  leaving  the  local  tint  (which 
is  your  under-tone)  between  them  and  the  darker  parts. 

The  dark  markings  are  put  in  with  dark  transparent 
color,  and  a fine-pointed  sable  brush.  Light  stamens  and 
yellow  anthers  must  be  put  on  with  thick  body  color,  in 
sharp,  quick  touches,  when  all  is  dry. 

Precisely  the  same  process  is  used,  without  any  set  of 
gouache-colors  at  all,  with  only  a bottle  or  tube  of  Chinese 
white  to  combine  with  ordinary  moist  colors.  You  will 
find  you  can  make  opaque  colors  out  of  transparent  ones 
by  mixing  them  with  Chinese  white,  and  save  the  expense 
of  a set  of  gouache-colors,  which  moreover,  are  trouble- 
some, and  dry  up  quickly,  and  when  they  are  dry  and 
hardened  are  useless.  With  fresh  Chinese  white  you  can 
combine  all  your  transparent  colors,  and  get  a range  of 
tints  with  which  you  are  familiar.  The  Liquid  Colors  com- 
bine equally  well  — or  even  better  — with  Chinese  white, 
and  you  may  avail  yourself  of  their  rich  tints.  If,  how- 
ever, you  have  no  set  of  gouache  colors,  you  must  be  on 


OIL  AND  WATER-COLOR  PAINTING. 


143 


your  guard  in  the  use  of  Chinese  white.  Water  added  to 
moist  colors  lightens  their  value  without  changing  their 
tints ; but  Chinese  white  really  changes  the  tints  of  colors 
in  a most  disappointing  manner,  giving  a cold,  wan  look 
to  tones  that  were  rich  and  warm  before  it  was  added. 
For  instance,  the  brightest  possible  green,  made  of  Prus- 
sian blue  and  gamboge,  when  mixed  with  Chinese  white, 
takes  on  a dull,  chilled  aspect.  With  reds  it  has  just  the 
effect  that  cream  has  upon  damson  juice,  or  a cold  day 
upon  bright-red  lips.  Chinese  white  lias  an  equally  un- 
pleasant effect  upon  yellows,  and  on  all  combinations 
which  have  yellow  in  them,  — as  the  oranges  and  reds 
employed  for  nasturtiums  and  similar  flowers,  and  upon 
yellow  greens.  Blue  greens,  on  the  other  hand,  are 
enhanced  by  it.  Carmine  or  lake,  used  for  pink  flowers, 
grow  delicious  by  the  addition  of  Chinese  white. 

The  trouble  is  obviated  by  the  glazing  I just  spoke 
of.  After  the  first  flat  tint  is  on,  and  the  warm  shad- 
ows added  in  transparent  color,  and  both  are  perfectly 
dry,  you  may  put  a light  wash  of  gamboge,  or  whatever 
will  bring  back  the  tone  you  want,  over  dark  and  light 
alike.  The  thick,  high  lights,  laid  on  with  opaque  color, 
may  be  glazed  also,  but  with  caution.  Pure  white  is  good 
for  these  bright  touches,  unless  it  is  evidently  the  wrong 
tint.  In  leaves,  the  blue  tone  characteristic  of  Chinese 
white  combinations  is  sometimes  just  the  thing  to  repre- 
sent the  sort  of  bloom  seen  on  many  shiny  leaves  when 
the  light  falls  upon  them  in  one  direction  ; therefore  leave 
this  effect  on  the  parts  where  it  is  useful,  only  glazing  the 
rest  with  transparent  color. 


144 


SELF-INSTRUCTIVE  LESSONS. 


Flowers  painted  on  gray  paper  with  body -color  are,  per- 
haps, more  charming  than  any  others  when  they  are  well 
done.  You  will  do  well  to  study  the  best  specimens  of 
this  work  (chietly  French),  in  order  to  see  what  may  be 
attempted  with  success.  There  is  no  final  blending  of 
tints  with  the  brush,  or  stippling,  or  much  rounding  of 
form.  The  color  is  laid  on  Hat,  and  in  some  places  semi- 
transparent for  the  half  lights  and  transparent  shadows. 
Thick  spots  of  color  are  used  for  the  high  lights,  and 
common  moist  color  for  darker  parts,  and  for  modelling  or 
“shading.” 

These  effects,  you  will  see,  are  much  more  like  those 
of  oil  painting  than  of  transparent  water-color.  The 
advantages  of  both  gouache  and  oils  is,  that  they  can  be 
applied  to  dark  surfaces,  which  are  best  and  most  durable 
for  almost  all  kinds  of  decoration.  Body  color  seems  to 
me  preferable  to  oils  for  most  things,  on  account  of  the 
greater  neatness  of  water  mediums,  as  almost  all  of  the 
effects  of  oils  can  be  produced  by  careful  use  of  opaque 
water-colors. 

Among  the  common  moist  colors  there  are  some  more 
opaque  than  others.  These,  which  it  is  Avell  to  avoid 
when  working  in  transparent  color,  come  well  into  play 
in  body  color.  They  are  those  which  in  the  pans  have 
a chalky  look,  as  if  — as  they  probably  are  — they  were 
combined,  in  making,  with  Chinese  white.  For  glazing, 
use  transparent  colors. 


OIL  PAINTING. 


Materials  for  Painting  with  Oil-Colors  on 
Silk,  Satin,  etc. 


Sable  Brush  for  Oil  Paint- 
ing', No.  3 or  4. 


Box  of  Oil-Colors  in  Tubes. 


Bristle  Brushes,  Nos.  0,  1, 
2,  3. 


Drawing-Board. 

Thumb-Tacks. 

Blotting-Paper. 

Turpentine. 


Old  Bags. 


Palette-Knife. 


Palette  (Wood). 


Chinese  White. 
Gelatine. 


Medium  for  mixing  the 
Colors  with. 

Of  the  above  articles,  all  which  are  not  demanded  for 
this  chapter  will  be  required  in  Chapter  XY. 

The  instructions  which  have  been  given  so  far  for  the 
management  of  colors  have  been  for  a water  medium, 
that  is,  water-colors.  We  now  come  to  colors  mixed  with 
oil,  and  if  the  reader  has  learned  what  the  previous  chap- 
ters are  intended  to  teach,  he  will  find  no  difficulty  in 
painting  with  oil-colors,  as  the  method  is  almost  the  same  as 
with  gouache  or  opaque  water-colors.  Although  the  main 
principles  are  the  same,  whether  colors  are  mixed  with  oil 
or  water,  there  are,  however,  certain  differences  to  be 
observed  with  each  medium  or  vehicle,  as  the  fluid  with 
which  they  are  mixed  is  called.  For  example:  in  the  use 
oi  water-colors,  lighter  tones  are  obtained  by  adding  ivater, 


OIL  AND  WATER-COLOR  PAINTING. 


147 


and  darker  ones  by  repeated  trashes  of  the  same  color.  In 
oil  painting,  however,  lighter  tones  are  obtained  by  the 
addition  of  white , but  the  addition  of  black  does  not 
always  produce  darker  tones : thus,  suppose  it  necessary 
to  deepen  a yellow,  the  addition  of  black  would  give  a 
muddy,  greenish  tone,  not  by  any  means  the  deeper 
yellow  desired.  Another  yellow,  deeper  in  tone,  must  be 
taken,  as  lemon  yellow  can  be  deepened  by  the  addition 
of  cadmium  or  chrome.  With  blues  and  reds  the  case  is 
less  marked,  but  better  results  are  obtained  when  different 
and  darker  blues  and  reds  are  taken  instead  of  black  to 
deepen  the  tone.  Thus  : a very  good  blue  scale  runs  from 
cobalt  through  permanent  blue  to  indigo ; a crimson  red 
scale  from  the  lighter  tones  of  crimson  lake  and  white 
through  its  deep  tones  to  brown  madder;  a scarlet  red 
scale  from  vermilion  through  burnt  sienna  to  brown.  It 
is  of  course  impossible,  in  the  short  space  allowed,  to  give 
complete  directions  for  every  scale,  but  enough  has  been 
said  to  illustrate  the  principle,  and  the  student  will  soon 
be  able  to  apply  it  to  special  cases. 

With  the  change  of  medium  from  water  to  oil,  some 
change  in  the  list  of  colors  will  be  necessary,  as  all  colors 
do  not  work  equally  well  with  both  mediums ; we  will 
also  add  black  and  white  to  the  list,  viz. : — 


Flake  White. 
Yellow  Ochre. 
Chrome  Yellow, 
Raw  Sienna. 
Burnt  Sienna. 
Light  Red. 


Vermilion. 
Crimson  Lake. 
Emerald  Green. 
Permanent  Blue. 
Vandyke  Brown. 
Ivory  Black. 


148 


SELF-INS TR  UC TI VE  LESSONS. 


In  forming  our  palette  we  have,  with  two  exceptions, 
selected  the  colors  which  are  the  most  generally  used  by 
artists.  The  two  exceptions  are  chrome  yellow  and  crim- 
son lake,  which  are  taken  in  place  of  cadmium  yellow  and 
madder  lake  solely  on  the  ground  of  economy,  as  they 
cost  only  about  one-quarter  as  much,  and,  for  beginners’ 
use,  are  just  as  good.  The  difference  is  that  chrome 
yellow  and  crimson  lake  will  not  stand;  they  will  change, 
perhaps  disappear  altogether,  while  cadmium  and  madder 
lake  are  permanent  colors. 

Our  twelve-color  boxes  all  contain  mixing  directions. 
We  should,  however,  advise  the  reader  to  try  other  colors. 
What  has  been  learned  from  practice  with  water-colors 
may  be  applied  here. 


CHAPTER  XIII. 

OIL  PAINTING. 

For  painting  on  canvas  and  on  wood,  oil  colors  are  the 
best  pigments,  and  they  may  be  used  on  silk  or  velvet, 
to  which  the  great  objection  is  the  oil  in  them,  which 
makes  a stain  in  the  material  if  it  spreads  out  beyond  the 
design  on  the  surface.  It  is  a good  plan,  to  avoid  this,  to 
have  thick  blotting  paper  under  the  colors  as  you  squeeze 
them  from  their  tubes ; this  absorbs  the  superfluous  oil, 
and  makes  them  as  dry  as  you  desire.  Some  skilful 
workers  on  silk  employ  magnesia  rubbed  on  the  back  of 
the  material  to  absorb  the  oil.  Magnesia  has  a doubtful 
effect,  however,  on  the  texture  of  the  stuff. 

The  process  is  just  like  that  described  for  the  use  of 
body  color.  The  color  taken  from  the  tube  should  be 
mixed  with  turpentine  by  the  use  of  a palette  knife,  till  it 

149 


150 


SELF-INSTRUCTIVE  LESSONS. 


readies  the  thickness,  or  rather  thinness,  just  right  for  the 
first  undertone,  to  be  laid  on  the  surface  of  the  petals  to 
be  painted.  This  represents  neither  the  highest  light  nor 
deepest  dark,  but  a tint  between.  More  than  with  body 
color,  the  under-tone  of  the  background  may  be  allowed  to 
shine  through  and  influence  the  shadow-parts.  The  only 
places  which  should  be  loaded  are  the  lights,  and  these 
must  be  laid  on  when  the  under-tone  is  dry,  in  sharp  clear 
forms.  The  relief  given  by  the  thick  color  aids  very  much 
the  brilliancy  of  the  effect,  and  this  is  lost  if  it  is  shared 
by  the  lower  values. 

As  the  opaque  nature  of  oils  makes  it  possible  to  cover 
up  one  tint  with  another,  beginners  are  apt  to  think  that 
they  can  hide  their  mistakes  by  painting  over  the  bad  place 
with  some  new  attempt  at  excellence.  This  is  a poor 
plan,  and  cannot  be  used  in  decoration,  for  the  design 
must  look  fresh  and  spontaneous,  as  the  background  upon 
which  you  are  employed  will*  not  bear  working  over, 
especially  textiles  like  silk  and  satin.  You  must  know, 
before  you  touch  brush  to  background,  just  what  you 
want  to  do,  and  then  put  it  in  boldly  and  firmly.  It  is 
for  this  reason  that  I recommend  experiments  before 
attacking  the  real  work ; but  even  on  your  try-piece,  do 
not  “ fuss  ” over  it.  If  you  get  on  a wrong  tint,  leave 
that  attempt  and  start  another  one,  not  trying  to  cover  up 
faults.  One  great  advantage  of  beginning  with  water- 
colors  is  that  you  cannot  cover  up  your  mistakes,  but  must 
take  care  to  use  the  right  colors  the  first  time. 

The  proper  mixing  of  oil  colors  may  easily  be  mastered 
with  a due  attention  to  the  simple  rules  of  colors  I have 


OIL  AND  WATER-COLOR  PAINTING. 


151 


given,  which  apply  equally  to  all  mediums.  Flake  white 
takes  the  place  in  oil  painting  that  Chinese  white  does  in 
gouache,  with  this  addition,  that  it  makes  all  the  colors  it 
is  combined  with  work  to  advantage. 

As  in  the  other  ways  of  painting,  yellow,  blue,  and  red 
are  to  be  taken  as  the  elementary  principles  of  all  colors, 
for  they  cannot  be  produced  by  the  mixture  of  any  other 
colors,  while  all  the  others  may  be  produced  by  the  proper 
mixture  of  these.  Flake  white  mixed  with  other  colors 
not  only  lightens  their  tint  in  proportion  to  its  quantity, 
but  increases  their  opaqueness,  and  cools  (or  makes  bluer) 
their  hues  like  Chinese  white. 

Thus  with  flake  white  and 


> are  formed 


I. 


Chrome  Yellow 
Naples  Yellow 
Yellow  Ochre 
Raw  Sienna 
V ermilion 
Red  Lead 
Light  Red 
Indian  Red 
Ultramarine 
Cobalt 

Prussian  blue 
Different  oranges  may  be  mixed  by 


J 


Primrose. 

Lemon  Color. 

Yellow  Buffs. 

Darker  Buffs. 

( Pink  Flesh  Tint. 

Salmon  Color. 

Flesh  Tints. 

[Purplish  Flesh  Tints. 

are  formed  cool  light  blues  of  differ- 
ent tints  and  highness. 


t are  formed  <j 


I: 


Chrome  Yellow  ) 
Naples  Yellow  y 
Yellow  Ochre  ) 


with 


Vermilion 
Light  Red 
Red  Lead 


to  make  various  bright  and  opaque  oranges,  while 

/'  Pink  Madder 
with  -<  Carmine 

( Scarlet  Lake 


Yellow  Lake 
Raw  Sienna 
Lemon  Yellow 
make  transparent  orange. 


152 


SELF-INSTRUCTIVE  LESSONS. 


Chrome  Yellow)  r Ultramarine 

Naples  Yellow  > with  ) Cobalt 

Yellow  Ochre  ) ( Antwerp  Blue 

produce  greens  more  or  less  opaque,  while 

Yellow  Lake  ) r Ultramarine 

Raw  Sienna  >-  with  Cobalt  Blue 
Lemon  Yrellow  ) ( Prussian  Blue 

produce  together  transparent  greens. 

Mixed  purples  are  made  in  the  same  manner  by  combi- 
nations of  blues  and  reds,  and  an  infinite  variety  of  mixed 
browns  can  be  produced  by  judicious  combinations. 

Nearly  all  grays  are  produced  by  mixture  ; among  them, 
Ivory  Black,  and  White, 

Light  Red,  Ultramarine,  and  White, 

Vandyke  Brown  and  White, 

will  give  us  sufficient  variety.  It  is  even  more  important 
in  oils  than  in  water-colors  to  keep  your  colors  pure,  and 
to  avoid  indiscriminate  mixtures  of  all  sorts  of  things, 
hoping  for  good  results.  The  combinations  absolutely 
necessary  must  be  made  on  the  palette,  with  the  palette- 
knife,  of  but  a few  primary  tints,  and  lightly  touched 
together,  not  stirred  up  into  a hopeless  mess. 

The  above  lists  will  show  you  that  some  of  the  colors 
are  transparent  in  themselves  before  they  are  combined 
Avith  Avhite.  These  may  be  used  pure  for  glazing  after  the 
undertone  is  dry;  that  is,  for  leading  lightly  over  a sur- 
face to  change  the  local  color  when  that  does  not  please 
you,  as  may  be  the  case  if  the  flake  white  has  produced 
too  cool  a tone. 

Do  not  undertake  to  use  all  the  colors  here  mentioned ; 


OIL  AND  WATER-COLOR  PALNTING. 


153 


but  begin  by  buying  a few  primary  colors,  and  trying 
experiments  in  combining  them  with  flake  white  and  with 
each  other.  Your  knowledge  of  your  water-color  palette 
will  help  you  in  this ; for,  with  a few  exceptions,  even  the 
names  of  the  colors  are  the  same.  You  will  miss  gam- 
boge, which  in  oils  is  not  the  faithful  stand-by  it  is  in 
’'‘water-colors ; but  you  must  choose  from  the  range  of  yel- 
lows those  suitable  for  different  occasions. 

You  will  find  further  information  on  this  subject  in 
“ Tilton’s  Artists’ Colors,  and  How  to  Mix  Them.”  This 
book  describes  all  of  the  different  colors  employed  by  art- 
ists, explains  their  uses,  and  shows  how,  by  mixing,  good 
substitutes  for  any  of  them  can  be  obtained  from  the  sev- 
eral colors  in  our  boxes. 

The  following  list  will  help  you  in  mixing  colors ; use 
the  most  of  the  first-mentioned  and  least  of  the  last-men- 
tioned ; i.e.,  for 

Black,  — a good  deal  of  Vandyke  Brown  and  a little  Per- 
manent Blue. 

Blue  Black,  — Permanent  Blue,  Crimson  Lake.*  Vandyke 
Brown. 

“ Bright,  — Permanent  Blue  and  a little  White. 

“ “ — Cobalt. 

“ Dark, — Permanent  Blue. 

“ Darker,  — Permanent  Blue  and  Black. 

“ Dark  Grayish,  — Permanent  Blue,  Yellow  Ochre,  and 
a little  White. 

“ Dark  Greenish,  — Permanent  Blue  and  a little  Yel- 
low Ochre. 

* Or  Madder  Lake  if  you  have  it. 


154 


SELF-INS TR  UC TI VE  LESS ONS. 


Blue  Dull,  — Permanent  Blue  and  a little  Raw  Sienna. 

“ Pale, — add  White  to  Permanent  Blue  until  the 
shade  desired  has  been  obtained. 

“ Peacock,  — Permanent  Blue  and  Emerald  Green. 

“ Robin’s  Egg,  — same  as  above,  with  White. 

Brick  Red,  — Vermilion,  a little  Yellow  Ochre,  and  Burnt 
Sienna  or  Light  Red. 

Red,  Dark, — add  a little  Vandyke  Brown  to  the  above. 
Brown,  Olive, — -Vandyke  Brown  and  a little  Yellow 
Ochre. 

“ Dark,  — Vandyke  Brown. 

“ Medium,  — Vandyke  Brown  and  Burnt  Sienna. 

“ Light,  — add  Yellow  Ochre  to  above. 

“ Reddish,  — Vandyke  Brown  and  Crimson  Lake, 
or  Vermilion. 

Buff,  — Yellow  Ochre  and  a little  White. 

Cobalt,- — Permanent  Blue  and  Emerald  Green  in  about 
equal  proportions. 

Cranberry, — Crimson  Lake,  a little  Yellow  Ochre,  and 
White. 

Cream  Color,  — White  with  a very  little  Yellow  Ochre. 
Crimson,  — Crimson  Lake. 

“ Bright,  — Crimson  Lake  and  Vermilion. 

“ Dark,  Crimson  Lake  and  Vandyke  Brown. 
Emerald, — -Emerald  Green. 

Fawn,  — Light  Red,  Yellow  Ochre,  and  White. 

Flesh  Color,  — White  and  Light  Red. 

“ “ “ Vermilion. 

“ “ “ Vermilion,  and  Light  Red. 

“ “ “ Yellow  Ochre,  and  Vermilion. 

“ “ “ Crimson  Lake. 


OIL  AND  WATER-COLOR  PAINTING. 


155 


Variations  of  these  combinations  will  give  all  the  flesh 
tints  required  from  early  childhood  to  advanced  age. 

Gray,  Light  Blue,  — Emerald  Green,  Permanent  Blue,  and 
White. 

“ Dull,  — Permanent  Blue,  Burnt  Sienna,  and  White. 
Green,  Bright,  — Permanent  Blue  and  a little  Chrome.* 

“ Dark,  — Permanent  Blue  and  less  Chrome  than 
above. 

“ Dull,  — same  as  above,  with  a little  Burnt  Sienna. 
“ Yellowish,  — Chrome  and  a little  Permanent  Blue. 
“ Reddish,  — add  Light  Red  to  above. 

“ Blue,  — - Permanent  Blue  and  Chrome. 

“ Olive,  — Light,  Vandyke  Brown  and  Chrome. 

“ Olive,  — Light,  Permanent  Blue  and  Raw  Sienna. 
“ Olive,  — Dark,  add  more  Vandyke  Brown. 

“ Peacock,  — Emerald  Green  and  a little  Permanent 
Blue. 

Hair,  Auburn, — -Yellow  Ochre  and  Light  Red. 

“ Brown,  — Vandyke  Brown. 

“ Brown,  — Vandyke  Brown  and  Raw  Sienna. 

“ Brown, — Vandyke  Brown  and  a little  Yellow 
Ochre. 

“ Flaxen,  — Yellow  Ochre. 

“ Flaxen,- — Yellow  Ochre  and  White. 

“ Gray,  — Light  Red,  Permanent  Blue,  and  White. 

“ Gray,  — for  dark  streaks,  Black. 

“ Reddish  Brown,  — Vandyke  Brown  and  Light  Red. 
Old  Gold,  — Yellow  Ochre  and  a little  Chrome. 

Olive,  — Yellow  Ochre  and  Black. 


* Or  Cadmium  if  you  have  it. 


156 


SELF-INSTRUCTIVE  LESSONS. 


Orange,  — Chrome  with  a little  Vermilion. 

“ Red,  — Chrome  with  more  Vermilion. 

Peacock  Blue,  — Permanent  Blue  and  a little  Emerald 
Green. 

“ Green,  — Emerald  Green  and  a little  Permanent 
Blue. 

Pink, — White  and  Vermilion. 

“ — White  and  Crimson  Lake. 

“ • — White,  Crimson  Lake,  and  a little  Chrome. 
Purple,  — Crimson  Lake  and  Permanent  Blue. 

Red,  Bright, — Vermilion. 

41  Dark,  — Vermilion  and  a little  Burnt  Sienna,  or 
Vermilion  and  Crimson  Lake. 

Rose, — White  and  Crimson  Lake. 

Salmon,  — White,  a little  Vermilion  and  Raw  Sienna. 
Scarlet,  — Vermilion. 

Straw  Color,  — White  and  Yellow  Ochre. 

Strawberry,  — Crimson  Lake  and  Vermilion. 

Tan, — -Raw  Sienna  and  a little  Yellow  Ochre. 
Terra-cotta,  — Raw  Sienna,  Crimson  Lake,  and  White. 

“ — Dark,  add  Burnt  Sienna. 

Wine,  — Crimson  Lake  and  a little  Vandyke  Brown. 
Yellow,  Bright,  — Chrome. 

“ Dingy,  — Yellow  Ochre  and  a little  Chrome. 

“ Pale, — White  and  a little  Chrome. 

“ Reddish,  — Yellow  Ochre,  Chrome,  and  a little 
Light  Red. 

* Madder  Lake  and  Cadmium  may  be  substituted  for  Crimson  Lake 
and  Chrome  Yellow. 


PAINTING  ON  SILK  AND  SATIN. 


The  following  chapter  deals  directly  with  subjects  for 
which  the  preceding  pages  have  been  preparatory.  The 
materials  will  be  the  same  as  required  for  the  different 
mediums  with  which  the  pigments  or  colors  are  mixed, 
viz. : 

Transparent  Water  Colors,  p.  112. 

Liquid  Colors,  p.  123. 

Gouache  or  Body  Colors,  p.  136. 

Oil  Painting,  p.  146. 

Whichever  medium  the  reader  decides  to  employ,  she 
cannot  well  afford  to  neglect  reading  what  has  been  said 
of  the  others,  as  all  have  more  or  less  connection  with 
each  other. 

Gouache  or  body-color  painting  may  be  new  to  many  of 
our  readers.  The  method,  as  well  as  the  effects,  are  so 
much  like  oil  painting,  that  the  same  directions  for  the 
management  of  colors  would,  with  trilling  exceptions, 
answer  for  either.  The  advantage  over  oil  painting  is  in 
drying  immediately,  and  no  danger  from  spreading  oil  or 
turpentine. 

To  paint  with  oil-colors  successfully  on  such  delicate 
materials  as  silk  and  satin  requires  some  knowledge  of 
the  capacity  of  the  materials  employed ; even  then  it  is  not 
without  difficulty.  The  preceding  pages  will  afford  those 

158 


OIL  AND  WATER-COLOR  PAINTING. 


159 


who  are  prudent  an  opportunity  to  acquire  some  know- 
ledge of  the  subject.  A drop  of  oil  or  turpentine  on  a 
delicate  silk  or  satin  is  not  usually  regarded  as  highly 
ornamental,  no  matter  how  skilfully  it  may  have  been 
applied ; and  this  is  what  is  likely  to  occur  when  one 
dabbles  with  such  things  without  proper  experience. 
Nevertheless  there  are  those  whose  conceit  will  prompt 
them  to  do  so,  whatever  those  of  experience  might  say  to 
try  and  prevent  such  folly. 

In  the  following  pages  the  reader  is  told  to  thin  her 
colors  with  turpentine,  it  being  supposed  that  she  has 
already  considered  the  advice  given  in  Chapter  XIII.  to 
first  squeeze  the  colors  on  blotting  paper,  so  as  to  extract 
the  superfluous  oil  and  prevent  its  spreading  when  applied 
to  the  material.  By  this  method,  while  the  danger  from 
spreading  oil  is  partially  avoided,  a lesser  one  is  incurred 
by  the  use  of  turpentine,  which  may  also  spread,  but  not 
so  disastrously.  This  new  danger  can  only  be  avoided  by 
acquiring  skill  in  mixing,  which  is  only  born  of  experience. 
Some  professional  decoraters  will  not  use  turpentine,  and 
only  practise  with  clear  color  after  extracting  the  oil,  as 
above  mentioned. 

The  same  methods  may  also  be  used  as  are  described 
for  preparing  the  ground  in  Transparent  Water-Color 
painting,  and  for  Body  Colors,  viz  : fill  in  the  outlines  with 
Chinese  White. 


CHAPTER  XIV. 

PAINTING  ON  SILK  AND  SATIN. 

I.  WATER— COLOR. 

As  both  silk  and  satin  materials,  when  painted,  re- 
quire similar  preparation  and  treatment,  I class  them  to- 
gether, simply  pointing  out  differences  in  the  treatment 
of  the  two  when  such  occur. 

The  first  question  that  presents  itself  is  the  choice  of 
the  silk  or  satin.  With  regard  to  color,  for  silk,  all  shades 
of  white,  from  cream-white  to  pink,  and  from  lemon-white 
to  yellow,  are  suitable,  but  not  dead  or  flake-white,  which 
is  not  in  itself  so  pretty  as  the  other  shades,  and  which  is. 
too  much  like  the  tint  of  the  white  paint  about  to  be  laid 
upon  it.  The  yellow  tint  now  called  “old  gold,”  blue 
such  as  is  known  as  sky-blue,  green  of  the  “ eau  de  Nil” 
shade,  and  cinnamon-reds,  all  look  well.  Colors  brighter 

161 


162 


SELF-INS TR  UCTI VE  LESSONS. 


than  these  are  not  suitable  for  backgrounds;  for  they  are 
too  vivid  in  tone  to  show  the  beauty  of  the  painting. 

On  light  backgrounds,  such  as  these  I have  mentioned, 
the  design  will  stand  out  with  its  own  effect  of  color  and 
form,  on  its  own  merits,  so  to  speak,  as  if  it  were  seen  in 
the  open  air.  A dark  background,  on  the  other  hand, 
lends  itself  more  to  the  composition,  and,  while  relieving 
more  the  light  values  of  the  design  put  upon  it,  is  more  a 
necessary  part  of  it.  For  this  reason,  although  a very 
light  background  can  receive  almost  any  colors  dark 
enough  in  value  to  be  relieved  upon  it,  the  colors  of  a dark 
background  must  be  chosen  with  more  care  in  reference 
to  the  design  put  on  it,  that  it  may  both  harmonize  and 
contrast  in  agreeable  gradation  of  tint  and  value.  For 
dark  backgrounds,  Oxford  and  navy  blue,  maroon  or  very 
deep  cardinal  red,  olive  and  sage  green,  or  plum-color,  are 
all  suitable.  If  I were  going  to  paint  a design  upon  a 
light  background,  I should  think  first  of  the  subject  and 
coloring  of  the  design,  and  then  choose  some  light,  pretty 
silk  or  satin  shade  to  put  it  on  ; on  the  other  hand,  for  a 
dark  background,  I should  search  first  for  some  piece  of 
stuff  in  itself  delicious  in  rich  shade  and  texture,  and 
then  think  what  design  would  be  suitable  to  put  upon  it. 

Silk,  as  to  texture,  should  be  of  a close  and  even 
make,  not  corded,  and  not  much  dressed.  Satin  should 
be  cotton-backed,  firmly  and  well  woven,  with  a smooth 
surface. 

There  are  different  methods  of  preparing  both  silk  and 
satin  to  receive  the  color.  Some  teachers  claim  that  both  are 
really  better  for  a sizing  passed  over  before  they  are  painted, 


OIL  AND  WATER-COLOR  PAINTING. 


163 


to  take  away  the  dressing  upon  the  surface  ; but,  unless 
this  be  done  with  care,  it  will  tend  to  cockle  the  material, 
which  is  one  of  the  worst  difficulties  to  overcome.  Before 
sizing,  stretch  the  silk  in  an  open  frame,  such  as  is  used  in 
needle-work,  or  attach  with  thumb-tacks  to  a drawing- 
board.  Take  great  care  to  stretch  the  silk  evenly,  and  to 
attach  it  firmly ; any  error  in  the  stretching  will  result  in 
unevenness  to  the  silk,  and  can  never  be  remedied. 

To  size,  take  half  an  ounce  of  gelatine,  and  put  it 
in  a tall  tumbler  just  covered  with  cold  water.  Leave  it 
for  an  hour,  pour  off  the  cold  water,  and  add  a pint  of 
boiling  water  to  the  gelatine,  stirring  and  dissolving  it  in 
the  water ; run  the  mixture  through  coarse  muslin  to 
strain  it,  and,  while  still  hot,  apply  it  to  the  silk,  which 
we  will  suppose  you  have  stretched  as  above  directed. 
Take  a small,  soft,  and  clean  sponge,  dip  it  into  the  hot 
gelatine,  and  thoroughly  wash  over  the  surface  of  the 
silk.  Do  not  make  it  too  wet,  but  rub  the  mixture  well 
in,  and  leave  no  place  untouched,  as  such  places  will 
show  when  the  gelatine  has  dried.  Rub  with  a piece  of 
soft  silk,  and  leave  the  silk  stretched  until  it  is  perfect- 
ly dry ; then  it  may  require  stretching  again,  but  very 
likely  not. 

The  same  mixture  can  be  applied  to  satin,  only  upon 
satin  every  stroke  of  the  sponge  will  show,  if  not  care- 
fully joined  to  the  next,  like  putting  on  a wet  wash  of 
water  color  on  paper.  The  design,  as  before  stated, 
should,  in  every  case,  have  been  carefully  drawn  out  on 
paper,  with  due  reference  to  the  form  of  the  space  to  be 
occupied  by  it.  Transfer  the  outlines  of  the  design  upon 


164 


SELF-INS TR  UCTI VE  LESSONS. 


the  silk  or  satin  with  tracing  paper,  according  to  the  direc- 
tions at  the  end  of  Chapter  V.  The  objection  to  the 
above-described  method  is,  that  silk  prepared  in  this  way 
is  liable  to  crack  and  break ; besides,  it  destroys  the 
original  lustre  of  the  material. 

Another  way  is  to  stretch  the  material  as  above  directed  ; 
then  draw  or  transfer  your  design  to  it,  and  fill  in  the 
outlines  — that  is,  the  parts  which  are  to  receive  the  color 

- with  the  sizing.  This  gives  the  same  foundation  as 
the  first  method,  and  will  preserve  the  lustre  of  the  ma- 
terial not  covered  by  the  design,  and,  at  the  same  time,, 
lessen  the  danger  of  breaking  or  cracking.  Or,  you  may 
paint  directly  on  the  material  without  sizing,  after 
stretching  and  applying  tire  design.  All  of  these  meth- 
ods are  in  general  use.  You  had  better  try  them  all  on 
waste  material,  and  decide  for  yourself  which  you  like 
best. 

Thus  far,  the  process  is  the  same  for  all  painting  upon 
silk  or  satin ; but  now  there  are  two  ways  of  using  water 
color,  the  first  and,  perhaps,  most  distinguished  of  which  is 
in  Transparent  water-colors. 

This  is  done  with  the  ordinary  moist  colors  in  tubes  or 
pans,  absolutely  as  I have  described  it  for  practice  on 
paper,  except  that  it  is  harder  to  carry  out  the  process  on 
silk  or  satin  with  good  effect;  and,  to  obtain  the  best 
results,  you  must  confine  yourself  to  white  or  the  lightest 
tints  of  silk  and  satin,  as  the  transparent  colors  will  not 
work  satisfactorily  on  the  darker  shades  unless  the  mate- 
rial lias  been  prepared  to  receive  them.  Landscapes, 
sea  views  and  “Watteau”  groups  of  figures,  can  only  be 


OIL  AND  WATER-COLOR  PAINTING. 


165 


effectually  done  in  transparent  color,  as  the  delicate  work 
they  require  is  hardly  possible  in  what  1 will  now  de- 
scribe. 

II.  PAINTING  IN  BODY  COLOR. 

One  method  which  I do  not  much  admire  is,  having- 
drawn,  as  before  instructed,  the  outline  of  the  design,  then 
to  fill  in  this  outline  with  Chinese  white  mixed  with  Til- 
ton’s resisting  medium.  This  mixture  should  be  applied 
carefully  and  smoothly  to  every  part  which  is  to  receive 
color.  When  diy,  the  design  may  be  painted  as  you  would 
paint  on  white  paper.  The  better  way,  if  you  have  a set 
of  gouache-colors,  is  to  use  them  direct  from  their  bottles ; 
otherwise,  work  by  mixing  Chinese  white  ivith  ordinary 
moist  paints.  Stretch  carefully  on  an  embroidery  frame 
some  spare  pieces  of  the  silk  and  satin  you  mean  to  paint 
on,  upon  which  3*011  can  try  the  effect  of  the  various  shades 
of  color  before  risking  them  upon  your  work. 

Be  careful  not  to  get  Chinese  white  into  the  pans  of 
moist  color,  by  transferring  the  pure  color  to  the  palette 
before  mixing  it  with  white,  or  all  your  paints  will  become 
dirty  and  muddled  together. 

Tilton’s  Chinese  white,  fresh  from  a new  tube,  has  a 
delicious,  soft,  pasty  consistency.  It  is  very  apt  to  become 
dry,  when  it  will  cake,  and  rub  off  at  the  slightest  touch. 
If  it  should,  on  trial,  thus  come  off  in  your  experiment 
upon  the  spare  silk,  add  Blending  Fluid  to  it  before  using, 
and  rub  it  well  up  with  a palette-knife  to  make  the  mix- 
ture perfectly  smooth. 

Begin  to  paint  by  laying  a coat  of  Chinese  white,  thus 
mixed,  over  the  chief  forms  of  the  design  which  are  to 


166 


SELF-INS TR  UCTI VE  LESSONS. 


stand  out  in  front.  For  this,  you  will  have  to  exercise  all 
your  skill  in  flat  tints  acquired  by  practice  on  paper;  for 
it  is  very  easy  to  make  the  quickly  drying  body-color  look 
streaky.  It  must  look  as  if  it  were  cut  out  of  thin,  white 
paper  applied  to  the  satin.  To  effect  this,  each  successive 
brushful  of  white  should  be  laid  close  to  the  wet  edge  of 
the  last,  the  outline  firmly  touched,  but  kept  together 
with  the  inside,  not  lined  round  and  afterwards  filled  in. 
While  still  wet  and  shiny,  drop  into  the  white  surface 
whatever  tint  is  desired,  with  a different  brush  from  that 
which  carries  the  white.  Thus,  your  first  process  results 
in  a flat,  white  representation  of  the  design,  with  a sug- 
gestion in  it  of  all  the  colors  of  its  different  parts  — viz., 
for  a green  leaf,  drop  in  green  ; a pink  flower,  drop  in  pink, 
— and,  as  you  grow  bold  in  the  manipulation  of  the  wet 
white,  you  will  carry  these  first  effects  farther  and  farther. 
While  this  is  drying,  paint  such  other  parts  of  the  design, 
as  are  meant  to  recede,  with  somewhat  shadowy  tints 
mixed  with  white.  These,  if  neatly  done,  will  require  no 
retouching;  in  fact,  if  they  are  not  neatly  done,  no  amount 
of  retouching  will  redeem  them.  They  are  frequently 
painted  in  soft  grays,  yellow-browns,  and  other  plain 
shades,  to  interpose  between  the  other  more  prominent 
objects  and  the  background. 

For  the  second  painting,  return  to  the  petals,  and  put 
in  the  half-tints.  You  will  find  that  painting  upon  the 
under-coating  is  a delicate  business ; the  point  of  the  brush 
is  apt  to  stir  up  the  white  underneath,  even  when  it  is 
quite  dry,  as  it  should  be.  This  can  be  overcome  by  using 
Tilton’s  resisting  medium.  Therefore,  be  perfectly  sure 


OIL  AND  WATER-COLOR  PAINTING. 


167 


what  you  mean  to  do  before  touching  the  work  with  your 
brush ; put  in  your  forms  lightly,  but  firmly,  without  any 
attempt  to  blend  this  shadow  color  with  the  under-tone. 
Such  blending  implies  a want  of  faith  in  the  forms  you 
are  now  putting  in,  as  if  you  hoped  your  doubt  as  to  their 
being  right  would  be  concealed  by  vagueness,  — a sad  mis- 
take. These  shadows  should  be  of  a warm  gray,  influ- 
enced by  the  local  color  of  the  part  you  are  painting. 
You  will  find  the  addition  of  white  tp  any  tint  changes 
the  actual  color  of  it,  while  lowering  also  its  value  ; there- 
fore, in  working  this  second  time,  use  pure  color,  as  much 
as  possible,  with  Blending  Fluid  to  wet  it.  Your  first  tint 
should  remain  always  to  indicate  the  local  color;  the 
modelling  is  given  by  the  half-tint,  after  which,  the  high 
lights  can  be  added  with  pure  white,  or  white  slightly 
tinted.  Much  depends  upon  the  shape  in  which  these 
high  lights  are  added.  You  must  have  a definite  idea  of 
the  form  of  that  little  spot  of  light  before  attempting  it, 
and  then  put  it  on  at  once,  firmly  and  well.  To  convince 
yourself  of  the  importance  of  this,  look  at  your  own  eyes 
in  a looking-glass,  with  a good  light  upon  them.  Notice 
that  white  reflected  spot  upon  each  pupil,  and  you  will 
see  that  it  has  a form  as  definite  as  any  other  part  of  your 
face.  It  would  not  do  at  all  to  represent  that  spot  by  a 
hasty  poke  with  the  tip  of  a brush  full  of  white  paint.  It 
mnst  be  as  nicely  modelled  as  if  it  were  cut  out  with 
scissors  and  stuck  on.  Do  not  attempt  minute  shading  or 
stippling;  but  let  the  wet  colors  do  their  own  blending, 
or  remain  distinct,  which  is  much  more  effective  when  the 
forms  are  good.  Mark  out  the  stems  clearly,  with  appro- 


168 


SELF-INS  TR  UCTI VE  LESSONS. 


priate  tints,  and  trace  with  a fine  point  of  a brush  the 
veins  of  leaves,  stamens,  etc.,  of  flowers,  and  any  fine  lines 
that  will  define  and  give  character  to  the  design. 

Body  Color  Painting  on  Satin  will  allow  of  even  less 
shading  than  upon  silk.  White  satin  will  not  need  a 
ground  of  Chinese  white,  as  it  will  be  sufficient  to  mix  it 
and  the  Blending  Fluid  with  the  first  tints  of  the  flowers 
and  leaves  on  the  palette  ; but  the  high  lights,  or  first  val- 
ues, should,  in  all  cases,  be  laid  on  in  such  a manner  that 
the  satin  or  silk  texture  is  hidden  by  them. 

I have  spoken  of  flowers  as  being  the  most  available 
forms  for  designs  to  use  on  silk  or  satin ; birds,  butterflies, 
ladybirds,  flies,  and  insects,  are  great  accessories  to  any 
painting.  The  brightest  tints  of  the  color-box  can  be  used 
to  paint  them  with,  over  the  layer  of  Chinese  white. 

Gilding  is  often  added  to  increase  the  effect  of  body- 
color  painting;  it  is  not  very  suitable  for  flower  subjects, 
except  on  dark  backgrounds  to  mark  out  ears  of  wheat, 
or  when  employed  upon  dark  materials  upon  which  white 
flowers  and  brown  leaves  liave  been  selected  as  the  sub- 
ject. The  gilding  is  then  used  about  the  leaves  as  their 
highest  light  and  the  veins.  It  should  be  remembered 
that  gold  has  a quieting  effect  in  decoration,  rather  than  a 
gaudy  one.  The  gold  metallic  colors  used  in  lustra  paint- 
ing are  the  best  to  use.  Another  method  of  painting  on 
silk  or  satin  is  to  tint  the  design  with  the  various  shades 
of  one  color  only.  This  depends  for  its  success  upon  the 
truthfulness  of  the  drawing  and  the  selection  of  tints  for 
the  background  and  painting  which  will  best  harmonize. 


OIL  AND  WATER-COLOR  PAINTING. 


169 


in.  SILK  AND  SATIN  IN  OILS. 

Silk  and  satin  can  both  be  painted  in  oil  colors  with  no 
previous  preparation.  Tightly  stretch  the  material,  and  thin 
the  colors  with  turpentine,  not  enough  to  make  them  run. 
It  is  this  that  requires  the  most  practice,  as  the  superfluous 
turpentine  spreads  about  on  the  material  outside  the  design. 
There  are  two  ways  to  proceed  in  painting  with  oils  on  these 
fabrics.  The  first  is  to  use  color  enough,  and  not  more  than 
enough,  to  cover  the  texture  of  the  fabric  underneath,  as 
with  Chinese  white  in  painting  in  body  color.  If  the  mate- 
rial shows  through  when  the  first  coat  is  dry,  apply  a sec- 
ond; but  this  should  be  avoided  by  putting  the  paint  on 
right  at  first,  it  is  so  tiresome  waiting  for  oil  colors  to  dry. 
Bring  out  the  stamens  of  flowers  and  the  markings  of  the 
leaves,  stems,  etc.,  sharply,  and  attempt  even  less  grading 
than  in  body  color.  The  second  method,  and  the  one 
which  seems  most  popular  at  present,  is  to  allow  the  color 
of  the  background  — that  is,  the  silk  or  satin  — to  prevail, 
as  a part  of  the  painted  design,  instead  of  covering  it  up 
with  the  first  layer  of  paint,  as  in  the  previous  instance. 

To  make  this  way  effective,  choose  flowers  and  leaves,  for 
your  design,  of  which  the  edges  and  outer  parts  are  lighter 
than  the  inner  parts.  Then,  having  prepared  your  palette 
with  such  tints  as  you  wish  to  use,  combined  with  Chinese 
white  in  the  proper  proportions,  according  to  the  general 
directions  given  for  oil  painting  in  Chapter  XIII.,  paint  the 
high  lights  and  the  second  tints  with  a color  answering  to 
the  local  color  of  the  object.  I will  take,  for  example,  a 


170 


SELF-IN STB  UCTI VE  LESSONS. 


rose-leaf.  With  your  brush  well  filled  with  a suitable  green 
for  the  local  color,  — i.  e .,  the  real  color  of  the  leaf,  which 
may  be  found  between  the  shadows  and  the  highest  light 
or  value,  — paint  round  the  slightly  indented  edge  of  the 
leaf,  and  towards  the  middle  of  it,  perhaps  covering  all  of 
one  half  of  the  leaf  with  this  color,  but  leaving  the  other 
half  unpainted  in  certain  parts,  giving  these  unpainted 
parts  the  form  of  the  darker  parts  of  the  leaf.  The  paint 
you  are  putting  on  will  define  the  shape  of  the  leaf,  while 
the  silk  underneath  will  look  right  for  the  darker  part 
without  any  painting.  This,  of  course,  would  be  the  case 
with  dark  green  silk ; if  the  background  be  of  maroon  or 
dark  crimson  silk,  it  will  also  be  effective  as  a part  of  the 
leaf,  as  there  is  almost  as  much  dark  crimson  in  rose-leaves 
as  there  is  green.  The  side  veins  of  the  leaf  may  be  sug- 
gested with  green  paint. 

When  this  is  dry,  on  top  of  this  color,  the  highest  value 
may  be  laid ; and  the  veins  and  other  markings  may  be 
further  carried  out  with  dark  paint,  pencilled  with  a tine- 
pointed  brush. 

This  way  has  a lighter,  freer  effect  than  the  first,  which 
seems  to  overload  too  much  the  silk  with  color  ; but  the 
other  way  leaves  less  to  the  skill  of  the  workman. 

Do  not  allow  your  hand  to  rest  on  the  silk  or  satin.  If 
you  have  acquired  the  proper  habit  of  working  from  the 
shoulder,  you  will  not  need  any  hand  rest.  There  is  a 
wooden  frame  for  this  purpose  ; or  the  material  may  be 
covered  with  paper  or  cloth  where  the  hand  rests  on  it. 

The  finished  painting  will  take  four  or  five  days  to  dry 
if  it  then  looks  dead  and  colorless,  it  may  be  varnished 


OIL  AND  WATER-COLOR  PAINTING. 


171 


with  white  spirit  varnish.  But  when  the  paint  has  been 
put  on  with  just  the  right  amount  of  turpentine,  and 
thick  enough,  the  colors  will  remain  bright ; and  it  is  far 
better  to  omit  the  varnish,  which  has  always  a sticky  look. 

The  success  of  oil  painting  on  silk  or  satin  depends 
upon  the  clearness  with  which  the  oils  are  (sparingly) 
employed. 


FAINTING  ON  VELVET. 


MATERIALS. 

The  same  as  given  in  the  preceding  chapter. 


174 


CHAPTER  XV. 

PAINTING  ON  VELVET. 

This  was  much  practised  in  England  during  the  first 
half  of  the  present  century,  and  in  families  that  have  pre- 
served their  relics  there  may  still  he  seen  faded  old  pin- 
cushions and  reticules  still  graceful  and  dainty,  with  a 
faint  perfume  of  the  olden  time  clinging  to  them.  Most 
of  this  old-fashioned  painting  was  done  upon  white  cotton 
velvet ; but  it  was  executed  before  the  soft  modern 
shades  of  color  were  manufactured,  and  the  idea  of  laying 
on  heavy  body  color  would  have  shocked  our  delicate 
grandmothers,  who  never  employed  dark  background, 
and  held  closely  to  clear  transparent  colors. 

It  is  so  hard  to  paint  well  on  velvet,  and  failures  in  this 

175 


176 


SELF-INS TR  UCTI VE  LESSONS. 


art  are  so  ugly,  that  one  is  reminded  of  Dr.  Johnson’s 
famous  comment  on  a difficult  piece  of  music : “ Madam, 
I wish  it  were  impossible."  The  difficulties  of  the  work 
arise  from,  — 

1 The  great  power  of  absorbing  color  in  the  raised 
pile  of  the  material,  which  can  never  be  worked  up  to  any 
minuteness  of  finish  from  having  to  contend  against  this 
loss  of  color. 

2.  The  fact  that  the  .pile  becomes  matted  together  if 
even  the  smallest  quantity  too  much  of  paint  is  laid  on. 

3.  If  anything  less  than  the  just  amount  of  paint  is 
applied,  it  rests  in  little  separate  drops  on  the  separate 
hairs  of  the  pile,  leaving  vague  the  outline  of  the  design, 
while  the  color  of  the  background  is  apparent  between 
these  little  drops,  instead  of  the  tint  requisite  to  the 
design. 

Moreover,  handsome  velvet  is  too  expensive  to  be 
wasted  on  experiments  likely  to  prove,  at  first,  failures ; 
while  the  cheaper  velvets,  good  enough  for  such  attempts, 
are  so  inferior  to  the  fine  ones  that  success  in  painting 
upon  these  by  no  means  ensures  success  upon  the  long 
pile  of  the  richest  velvet  or  plush. 

The  brave  beginner,  not  discouraged  by  these  remarks, 
should  select  for  practice  cotton  velvet  or  velveteen  of  a 
close  pile  and  make,  as  much  practice  is  necessary  to 
enable  the  worker  to  manage  the  color  so  that  it  may  be 
neither  too  liquid  or  too  thick. 

I shall  describe,  as  before,  the  three  methods  of  painting, 
viz. : (1)  in  transparent  moist  colors ; (2)  gouache,  or 
body  colors ; (3)  with  oil-paints. 


OIL  AND  WATER-COLOR  PAINTING. 


177 


I.  TRANSPARENT  MOIST  COLORS. 

This  method  can  be  used  only  on  white  or  very  light 
velvet,  but  the  work  presents  no  difficulty  except  the  ever- 
present one  of  making  it  look  well  under  adverse  circum- 
stances. The  velvet  should  be  stretched  upon  a board  or 
embroidery  frame,  and  the  design,  if  it  is  your  own,  trans- 
ferred to  it,  first  carefully  drawn  and  colored  upon  coarse 
paper.  In  this  case,  to  ensure  its  being  laid  upon  the  right 
place  on  the  velvet,  you  may  indicate  the  top,  sides,  etc., 
of  the  design  with  pins  stuck  into  the  velvet  at  these  places; 
afterwards  connect  these  with  the  proper  outlines,  kept  as 
simple,  but  at  the  same  time  as  accurate,  as  possible,  with 
a little  dark  color  in  a fine-pointed  sable  brush.1  Now  paint 
the  design  as  prettily  as  you  can,  using  rich,  pure  colors, 
and  working  as  you  would  upon  paper,  only  not  attempting 
too  much.  The  velvet  itself  will  give  enough  softness  to 
your  touches,  and  the  difficulty  lies  in  rendering  character 
and  sharpness  sufficient  to  render  your  intention  clear. 
Paint  with  the  usual  moist  water-colors,  much  dryer  than 
on  paper. 


II.  GOUACHE,  OR  BODY  COLORS. 

The  process  of  opaque  painting  on  velvet  is  much  the 
same,  whether  done  with  gouache  or  with  oils.  I prefer  the 
use  of  gouache,  and  liquid  colors  diluted  in  water,  to  oil-color 
in  tubes ; but  this  is  a matter  of  taste,  and  affected  by  the 

1 Otherwise  see  list  of  Tilton’s  Transferring  Designs. 


178 


SELF-INSTRUCTIVE  LESSONS. 


nature  of  the  thing  to  be  decorated.  One  way  is,  after 
stretching  the  velvet  — the  closer  and  shorter  its  pile  the 
better  — tightly  in  its  frame,  which  should  be  open,  so  as  to 
have  access  to  the  back  as  well  as  the  front;  put  your  design 
upon  it  as  before,  either  by  Tilton’s  transferring  patterns,  or 
by  copying  your  own  previously  prepared  design  with  Chi- 
nese white  in  your  brush  for  the  outline;  repeat  the  outline 
on  the  back,  making  sure  that  it.  is  upon  exactly  the  same 
part  of  the  velvet.  This  you  can  ensure  by  means  of  pins 
stuck  through  from  the  front  to  guide  you.  On  the  back, 
paint  in  all  strong  bits  of  color  or  deep  shadows,  letting  the 
colors  soak  well  through  to  the  front,  but  without  wetting 
the  pile  of  the  velvet.  Then  begin  coloring  on  the  front, 
laying  in  the  local  tints  most  nearly  allied  to  the  highest 
values,  then  the  shadows  ; these  two  will  blend  with  each 
other  enough  for  gradation  of  tone.  You  will  find  the 
color  previously  put  on  the  back  helps  greatly.  Use  a 
scrub-brush  to  rub  in  the  largest  surfaces,  flat  bristle 
brushes  for  smaller  parts,  and  a sable  brush  witli  a good 
point  for  outline. 

I think  the  secret  of  all  good  painting  in  body  color  on 
textiles  is  using  bristle  brushes  instead  of  sable,  except  for 
the  finishing  work  on  top  of  the  first  layers  of  color. 
Work  your  brush  with  the  pile  of  the  velvet,  not  against 
it,  and  take  great  care  not  to  soak  the  pile  with  -wet ; this 
is  hopeless,  it  takes  a long  time  to  dry,  and  then  has  lost 
all  its  velvety  character.  Allow  the  natural  tint  of  the 
velvet  to  serve  Avherever  it  will , and  to  come  through  a 
light  film  of  color  dragged  over  the  surface  in  the  half- 
tints,  or  even  darker  parts,  with  the  brush  held  down  side- 
ways. 


OIL  AND  WATER-COLOR  PAINTING. 


179 


The  high  lights  must  be  laid  on  sharp  and  clear,  with 
thick  light  color  picked  up  on  the  end  of  the  brush  and 
deposited  on  the  material  with  as  little  manipulation  as 
possible.  If  they  may  be  pure  white,  this  is  easiest  to 
manage,  and  they  may  be  put  on  in  pure  white  and  lightly 
glazed  afterwards. 

When  the  material  is  to  be  fastened  down  or  lined,  you 
need  not  paint  at  all  on  the  back  of  it.  You  may,  on  the 
other  hand,  work  all  the  time  on  the  surface  of  the  velvet, 
laying  a wash  of  thin  .Chinese  white,  slightly  tinted  with 
color,  over  all  the  petals  and  flowers,  and  afterwards 
model  this  surface  with  shades  and  markings  ; in  fact,  you 
may  try  all  the  ways  of  working  in  bod}-  color  upon  dark 
paper,  as  described  in  Chapter  XII.  In  my  opinion,  the 
prettiest  method  is  to  work  with  only  one  set  of  touches 
for  the  whole  design,  relying  for  effect  upon  the  lovely 
texture  of  the  velvet,  the  richness  of  color  you  have 
chosen,  and,  above  all,  the  precision  and  excellence  of  your 
drawing.  You  will  choose  from  the  transferring  patterns 
some  flower  which  is  or  may  be  lightest  at  the  outside  of 
its  petals,  for  example,  a wild  rose.  On  the  velvet,  undis- 
turbed by  under-tone,  blending  fluid,  or  any  other  medium, 
lay  a thick  mass  of  color,  as  thick  as  butter,  made  of  Chinese 
Avhite  just  tinted  with  rich  red,  so  as  to  be  a lovely  pink. 
Do  not  try  to  work  this  in,  but  leave  it  just  in  the  shape 
of  the  edge  of  the  petal,  then  press  down  the  brush  along 
the  petal,  so  that  its  whole  side  may  give  a little  color,  not 
much,  to  the  velvet.  It  will  be  very  nice  if  up  at  the  top 
of  the  brush  there  is  some  bright  pink  which  will  lend  a 
tint  to  this  film,  catching  upon  the  top  of  the  velvet  pile. 


180 


SELF-INSTRUCTIVE  LESSONS. 


Do  not  meddle  with  it,  but  lay  another  petal  close  to  it. 
You  will  be  pleased  to  see  how  prettily  the  velvet  shades 
and  grades  the  petal,  only  lost  under  the  thick  layer  of 
paint  on  the  edge.  The  yellow  centre  of  the  rose  may  be 
made  in  the  same  way,  thick  points  of  color  bounding  the 
half-color  caused  by  the  sort  of  film  I have  described.  The 
brush  must  do  the  whole  of  itself,  laid  on  warily, — a 
small,  fiat,  bristle  brush  that  will  pick  up  a good  little  mass 
of  color  on  its  point  and  deposit  it  just  in  the  right  shape. 
The  green  leaves  of  the  rose  can  be  done  in  the  same  way; 
it  is  desirable  to  have  the  lighter  values  on  the  outside,  as 
you  can  only  with  them  define  outlines,  as  you  are  working 
on  the  plan  of  letting  the  velvet  itself  give  the  darker 
values,  more  or  less  obscured  by  a film  of  paint  from  the 
top  of  the  brush. 

If  you  have  seen  velvet  painted  in  this  way,  you  will  not 
only  be  able  to  do  it,  but  will  not  want  to  work  in  the 
heavy  overlaid  method  of  putting  an  under-tone  on  first.  It 
is,  of  course,  better  to  see  some  one  do  it  once  or  twice  if  you 
can,  for  this  laying  the  brush  down  and  squeezing  the  color 
off  from  it  is  hard  to  describe,  but  I am  sure  you  will  be 
able  to  manage  it  with  perseverance. 


in.  OILS. 

In  painting  velvet  in  oils  the  same  difficulties  present 
themselves,  and  the  crude  properties  of  oil  color  seem  not 
harmonious  with  the  soft  folds  and  rich  texture  of  the 
material.  The  great  danger  is  that  the  oil  which  is  com- 
bined with  the  paint  will  exude  upon  the  velvet  over 


OIL  AND  WATER-COLOR  PAINTING. 


181 


the  outline,  and  leave  a dark  greasy  rim,  a kind  of  halo, 
which  is  anything  but  ornamental  to  the  work. 

To  prevent  this,  cut  a piece  of  thick  white  blotting- 
paper  about  the  size  of  your  palette,  and  lay  it  over  the 
whole,  while  the  palette  is  still  clean.  If  it  is  a thumb- 
hole  palette,  cut  a hole  in  the  blotting-paper  to  correspond 
with  the  hole  in  the  palette  ; this,  when  your  thumb  is  put 
through  it,  will  steady  the  blotting-paper  and  prevent  its 
slipping.  If  you  now  squeeze  your  colors  from  the  oil- 
tubes  upon  the  surface  of  blotting-paper,  the  superllous  oil 
will  spread  upon  it,  leaving  the  colors  just  dry  enough  for 
immediate  use.  In  this  case  you  will  do  well  to  squeeze 
only  just  so  much  at  a time,  as  you  are  likely  to  use  at 
once,  for  the  blotting  paper  will  go  on  absorbing  the  oil, 
so  that  by  the  next  day  the  color  will  be  hard  and  no 
longer  manageable.  Throw  away  this  piece  of  blotting- 
paper  as  soon  as  you  leave  off  working,  and  prepare  a fresh 
one  next  time  with  a moderate  amount  of  color,  so  that 
none  may  be  wasted. 

Another  method  used  by  some  to  prevent  the  oil  from 
running  is  to  rub  magnesia  carefully  over  the  back  of  the 
velvet ; this  will  absorb  the  oil  and  prevent  its  running. 

You  may  now  paint  your  design  exactly  as  I have  pre- 
viously directed  ; you  will  do  well  to  read  over  the  general 
directions  in  Chapter  XIII.,  and  also  the  directions  for 
painting  on  silk  in  oils. 

There  are  various  methods  of  working,  as  you  will 
recognize  for  yourselves  by  this  time  : 1.  To  lay  an  under- 
tone of  thin  color  over  the  whole  design,  and  then  to 
model  it  with  shades  and  markings.  I do  not  recommend 


182 


SEL  F-INS  TR  UC  TI VE  LESSONS. 


this  for  velvet,  as  the  pile,  overlaid  with  color,  gets  a 
clogged  and  matted  look  which  you  cannot  avoid.  The 
opposite  fault  is  to  drag  a brush  thinly  charged  with 
color  over  the  surface  of  petals  and  leaves.  This  is 
tempting,  and  you  think  at  first  you  have  hit  upon  a 
lovely  way  of  decorating  velvet.  But  you  will  soon  cease 
to  be  pleased  with  the  vague,  undefined  look  of  your 
work.  The  outline  is  lost,  the  color  is  confounded  with 
the  pile  of  the  velvet,  and  there  is  no  richness  of  tint,  only 
a soft,  blurry  attempt  at  something  which  did  not  succeed. 
The  better  method  is : 2.  When  a pattern  is  selected  with 
the  lighter  values  on  the  outside  of  petal  and  leaf.  These 
may  be  laid  on  with  thick,  good  masses  of  color,  defining 
the  outline  very  sharply  by  painting  close  to  the  edge, 
rather  inside  than  outside  of  the  lines.  You  may  “ drag  ” 
if  you  please  a little  within  the  outline,  to  soften  the 
gradation  between  the  thick  color  and  the  darkest  parts 
within,  where  the  velvet  itself  may  be  left,  but  not  else- 
where; and  above  all  avoid  “ dragging  ” for  tendrils  and 
stems,  as  these  must  be  put  in  sharp  and  clear  to  give  a 
good  effect. 

Kensington  Painting. 

As  this  method  of  painting,  now  much  in  vogue,  is  one 
process  of  applying  oil  paint  to  velvet,  it  comes  properly 
into  this  chapter,  although  its  intention  is  somewhat 
different,  being  a direct  imitation  of  the  stitches  of  the  so- 
called  Kensington  embroidery. 

It  may  well  be  inquired  why  this  embroidery,  so  beau- 
iful  in  itself,  should  be  imitated  in  paint,  and  not  done 


OIL  AND  WATER-COLOR  PAINTING. 


183 


with  all  the  lovely  silks  and  flosses  at  the  disposition  of 
the  needlewoman.  The  answer  is,  I believe,  that  the 
materials  are  much  less  expensive  than  these  silks  and 
flosses ; besides,  it  is  something  new,  and  does  not  take  so 
long  to  do  it.  The  skill  required  for  it  is  rather  that  of 
the  needlewoman  than  the  artist,  for,  undoubtedly,  any 
one  familiar  with  the  laying  of  stitches  in  the  proper 
direction  for  effect  would  find  no  difficulty  in  reproducing 
the  same  effect  with  paints  instead  of  silk  threads.  This 
work  had  best  be  first  attempted  on  velveteen  ; it  may  be 
done  on  silk,  felting,  and  any  of  the  fabrics  now  used  for 
embroidery.  Plush  of  a short  pile,  which  furnishes  a 
richer  background  for  the  bright  tints  which  should  be 
employed,  is  the  best  adapted  for  the  work. 

The  pattern  may  be  one  of  Tilton’s  transferring  designs, 
which  can  be  transferred  any  number  of  times  to  any 
material,  or  you  can  make  your  own  design.  I should 
advise  at  first  a small  design  stamped  several  times  on  a 
piece  of  cheap  velveteen,  for  practice.  Large  flowers  should 
be  chosen,  and,  as  I have  said  before,  such  flowers  and  leaves 
as  have  their  edges  defined  by  the  lighter  values,  leaving 
the  interior  parts  darker,  in  case  you  prefer  to  leave  the 
velveteen  unpainted  to  represent  these  paints,  as  is  fre- 
quently done  in  embroidery,  for  you  must  remember 
that  you  are  not  now  imitating  nature  direct,  but  the  way  in 
which  threads  are  applied  with  a needle,  and  nature  only 
indirectly,  as  she  is  imitated  with  the  needle.  Therefore 
you  had  better  look  at  good  specimens  of  embroidery  be- 
fore you  begin  — Japanese,  for  example  — and  see  how 
they  get  different  effects  of  form,  and  even  of  light  and 


184 


SELF-INSTRUCTIVE  LESSONS. 


shade,  by  placing  sets  of  stitches  at  different  angles  to 
each  other.  In  embroidery  the  reason  this  is  done  is, 
that  these  sets  of  stitches  in  different  directions  catch  the 
light  differently,  and  so  show  separately  as  different  colors 
do ; the  reason  it  is  done  in  painting  “ Kensington  ” is 
merely  to  imitate  embroidery. 

After  the  pattern  is  transferred,  the  material  should  be 
stretched  in  an  embroidery  frame,  or  it  may  be  tacked 
upon  a drawing  board.  The  painting  is  done  with  oil- 
colors  in  tubes,  applied  just  as  they  are  squeezed  out,  with- 
out the  addition  of  oil' or  turpentine.  The  brush  is  not  a 
brush,  but  a coarse  pen.  Different  workers  have  different 
favorites.  Some  think  a gold  pen  is  best  for  transmitting 
the  color,  others  prefer  the  great  pen  called  a bank-pen, 
but  any  stout  pen  will  do.  A common  saucer  is  rather 
better  than  a palette,  on  account  of  the  curving  side,  to 
receive  the  color  squeezed  from  the  tubes.  Mix  your  tints 
with  a palette-knife  (or  old  case-knife)  just  as  for  any 
other  kind  of  painting,  according  to  the  lLts  of  colors  in 
Chapter  XIII.,  adding  flake-white  to  produce  the  lighter 
tints.  Limit  yourself  to  but  few  tints,  and  remember  that 
as  a skein  of  silk  remains  from  one  end  to  the  other  of 
precisely  the  same  “ value,”  so  your  tints  should  each  be 
uniform  with  itself  throughout. 

You  want  now  to  get  a quantity  of  paint  into  the 
hollow  of  the  pen.  There  are  different  ways  of  doing  this. 
By  the  way,  do  not  put  the  pen  in  a holder,  — it  is  quite  un- 
necessary. You  may  take  it  by  the  point  and  scoop  the 
hollow  full  of  paint,  afterwards  wiping  the  back  of  the  pen 
so  that  you  can  handle  it  without  soiling  your  fingers. 


OIL  AND  WATER-COLOR  PAINTING. 


185 


Now  mark  over  the  outlines  with  the  back  of  the  pen 
next  the  material,  turning  the  pen,  however,  slightly,  so  as 
to  make  the  outline  clear  and  sharp.  Fill  your  pen  again, 
and  deposit  as  much  color  as  possible  upon  the  petal  or 
leaf,  drawing  the  pen  towards  the  centre,  or  following  such 
a direction  as  long  stitches  would  be  likely  to  take.  You 
may  apply  various  tints  in  this  manner,  blending  them 
together  with  the  pen.  Do  not  be  afraid  to  have  the  color 
stick  up  thick,  like  butter,  from  the  material ; remember 
the  raised  look  of  embroidery.  Now,  while  the  paint  is 
soft,  with  your  pen  dry,  scratch  the  petal  or  leaf  over  with 
little  furrows  in  t lie  direction  you  think  proper  to  repre- 
sent stitches.  In  petals  these  should  be  towards  the 
centre,  but  parallel  as  far  as  possible,  to  give  the  neat,  flat 
look  of  embroidered  stitches.  This  scratching  must  be 
done  after  all  the  paint  is  laid  on,  i.e.,  the  chief  colors,  the 
darker  shades  and  the  high  lights.  Remember  that  the 
scratches  should  not  be  continuous  over  two  shades,  for  one 
stitch  could  not  be  made  of  a dark  and  light  color,  there- 
fore scratch  all  of  one  value  first,  then  all  of  another,  etc. 

You  may  put  in  stamens,  fine  stems,  and  slight  markings 
with  the  point  of  a sable  brush,  precisely  as  you  would  do  in 
any  oil  painting,  but  give  all  these  strokes  the  eftect  of 
stitches ; do  not  curve  them,  for  single  stitches  do  not 
make  curves. 

This  knack  of  scratching  the  paint  will  be  caught  with 
a little  practice,  and  it  is  upon  this  that  the  whole  de- 
pends. You  may  find  that  a little  sharp-pointed  stick  — for 
instance,  the  end  of  a match  sharpened,  or  an  orange-wood 
toothpick  — helps  you  in  making  the  markings. 


180 


SELF-INSTRUCTIVE  LESSONS. 


As  the  paint  is  laid  on  thickly,  it  must  be  left  a day  or 
two  to  dry.  On  looking  at  it  then,  if  you  think  it  needs 
“touching  up,”  lay  on  here  and  there  bright  points  of 
light,  or  little  dark  effects,  but  do  not  destroy  your 
stitches. 

Kensington  stitch  is  best  on  dark  grounds ; if  you 
undertake  to  do  it  on  very  delicate  silk,  you  may  squeeze 
the  paint  on  blotting-paper,  but  it  is  likely  to  diminish  the 
buttery  consistency  of  the  surface  so  necessary  for  marking 
the  imitation  of  stitches. 

Kensington  painting  may  be  done  with  gouache  or  body- 
color,  and  also  with  the  Lustra  paints. 


LUSTRA  PAINTING. 


Materials  for  Lustra  Painting. 


Lustra  Colors. 

Mixing  Medium. 

Brushes. 

Palette,  Slant,  or  Tinting 
saucers. 


Palette  Knife. 

Drawing  Board  or  Frame. 
Thumb  Tacks. 
Turpentine. 

Flitters. 


In  the  following  chapter  the  reader  is  directed  to  grind 
the  colors  down  with  a palette  knife.  This  will  not  be 
necessary  with  the  bronzes  if  they  are  properly  prepared, 
but  the  dull  colors  will  require  it. 

Flitters  do  not  come  in  the  boxes,  but  may  be  bought 
separately. 


CHAPTER  XVI. 

Lustra  or  Metallic  Painting. 

This  style  of  painting  will  recommend  itself  to  those 
who  have  had  no  experience  in  decorative  art,  and  who 
would  like  to  make  a beginning  with  a fair  chance  of  success. 
It  is  very  simple,  and  easily  acquired,  as  it  demands  no 
knowledge  of  drawing,  and  no  more  of  painting  than  can 
be  readily  learned,  or  can  be  gained  from  the  practice  with 
water-colors,  which  we  have  suggested  as  a foundation 

189 


190 


SELF-INS  TP,  UCTI VE  LESSONS. 


for  all  beginners.  It  requires  no  familiarity  with  drawing, 
because  designs  can  be  had,  drawn  in  outline  on  the  mate- 
rial, requiring  only  to  be  filled  in  with  color;  or  the 
design  can  be  selected  from  the  transferring  designs  and 
reproduced  upon  the  material. 

This  kind  of  painting  is  done  upon  textiles  with  metal- 
lic-powder colors,  which  are  made  to  adhere  to  the  mate- 
rial by  means  of  a medium,  mixed  with  the  colors  before 
they  are  worked  in.  The  painting  can  be  applied  to 
every  variety  of  decorative  ornament,  and  looks  well  upon 
plush,  velvet,  velveteen,  felting-cloths,  ribbed  or  plain 
silk,  and  fine  or  coarse  linen,  &c.,  as  well  as  terra-cotta,  wood, 
leather,  glass — -anything.  Upon  fine  linen  it  makes  ex- 
cellent d’oyleys ; upon  coarser  kinds,  chair-backs,  wash- 
backs,  and  afternoon  tea-table  covers,  for,  as  the  coloring 
sinks  into  the  material  and  almost  becomes  ingrain,  it 
allows  moderate  washing  of  the  thing  adorned.  Upon 
plush,  velvet,  and  other  non-washing  materials,  the  paint- 
ing is  used  either  for  friezes,  dados,  door-panels,  lambre- 
quins, table-borders,  and  curtain-borders,  with  rich  and 
handsome  effect. 

Upon  plush  or  velvet  it  can  be  made  up  intp  innumer- 
able decorative  articles,  such  as  clock-scarfs,  thermometer- 
stands,  calendars,  brush,  slipper,  umbrella,  or  shaving 
cases,  bags  of  all  kinds,  banner-screens,  pin-cushions,  &c., 
&c.,  which  are  pretty  for  home  decoration  and  for  presents 
to  friends. 

The  colors  essentially  characteristic  of  lustra  painting 
are  metallic ; it  is  these  which  give  the  novelty  to  the  pro- 
cess. Formerly  the  gold  and  silver  paints  in  bottles,  and 


OIL  AND  WATER-COLOR  PAINTING. 


191 


the  gold  and  silver  shells  used  in  illumination  and  water- 
color  decoration,  were  so  expensive  and  difficult  to  man- 
age that  they  were  but  sparingly  used.  By  the  invention 
of  the  metallic  colors  we  are  furnished  with  a wide  range 
of  lustrous,  brilliant  pigments,  which  sparkle  like  tinsel 
or  burnished  metal.  The  shades  obtained  from  them  in 
yellow  metal  range  from  pale  gold  to  the  reddish  tinge 
of  copper ; in  white,  from  silver,  through  steely  gray  to 
the  darkest  lustrous  black;  greens  and  purples  represent 
all  the  tints  of  burnished  bronzes.  There  is  an  immense 
variety  of  these  colors.  One  is  surprised  to  learn  how 
many  changing  irridescent  tints  exist,  by  looking  at  the 
little  bottles  which  contain  them. 

In  connection  with  the  metallics,  the  regular  pigments 
— we  mean  the  colors  which  mixed  with  oil  are  called  oil- 
colors;  with  water,  water-colors,  &c.  — can  be  used. 

For  the  sake  of  a name,  and  to  avoid  confusion,  I shall 
call  those  I have  first  described  the  lustrous  joints,  and 
the  others  the  dull  paints,  although  they  are  dull  only  by 
contrast  with  the  shining  surface  produced  by  the  metallic 
paints.  Both  the  lustrous  paints  and  the  dull  paints  are 
used  in  the  same  way,  i.  e .,  by  mixing  with  the  medium 
which  comes  with  them  in  the  boxes. 

In  regard  to  colors,  they  may  be  had  separately,  or  put 
up  in  boxes,  including  medium  and  brushes.  It  will  be 
very  much  the  same  with  these  as  with  any  other  colors  ; 
some  will  be  able  to  obtain  all  of  their  effects  from  a few, 
while  others  will  conclude  that  they  will  require  a larger 
number.  For  a limited  number,  we  would  suggest  the 
box  containing  eight  bronzes  and  four  dull  colors,  as  fol- 


192 


SELF-INSTRUCTIVE  LESSONS. 


lows:  bronzes, — gold,  green,  orange,  copper,  scarlet,  sil- 
ver, terra-cotta,  purple;  dull  colors, — blue,  green,  red, 
and  yellow  ; also,  bottle  of  medium,  brushes,  and  direc- 
tions for  mixing.  This  box  contains  all  that  will  be 
necessary  for  the  beginner. 

The  following  list  includes  all  that  come  in  the  larger 
boxes  : — 


SILVER  TINTS. 

1.  Dull,  Black. 

2.  “ Steel  blue. 

3.  “ Green. 

4.  Lustrous,  Blue. 

5.  “ Dark  green. 

6.  “ Light  green. 

7.  “ Silver. 

8.  Dull,  White. 

COPPER  TINTS. 

9.  Dull,  Vermilion. 

10.  Lustrous,  Fire. 

11.  “ Brown. 

12.  “ Copper. 


13.  Lustrous,  Terra-Cotta. 

GOLD  TINTS. 

14.  Dull,  Chrome  yellow. 

15.  Lustrous,  Green  gold. 

16.  “ Gold. 

17.  “ Orange. 

18.  “ Old  gold. 

CRIMSON  TINTS. 

19.  Dull,  Crimson  lake. 

20.  Lustrous,  Carmine. 

21.  “ Purple. 

22.  “ Chocolate. 


It  will  be  observed  that  the  dull  colors  here  placed  at 
the  head  of  each  division  harmonize  with  and  suggest  the 
gradation  of  tones  which  can  be  produced  with  each  set 
of  lustrous  colors.  Thus,  black  stands  as  the  deepest 
value,  and  white  for  the  lightest  value,  of  the  whole 
range  of  silver  powders.  If  blue  is  employed  with  these, 
a set  of  lustrous  blue  grays,  like  steel,  is  obtained.  If, 
instead  of  blue,  you  use  green  for  retouching,  you  will 


OIL  AND  WATER-COLOR  PAINTING. 


193 


get  a greenish  scale  of  effects  quite  different  from  the 
blue  grays,  — more  like  oxidized  silver  than  steel.  The 
gold  tints,  touched  and  combined  with  yellow,  will  give 
rich  and  pure  gold  effects. 

The  copper  lustrous  powders,  worked  in  connection 
with  vermilion,  give  all  possible  gradations  of  flaming- 
orange  effects.  The  crimsons,  as  I have  called  them  for 
want  of  a better  name,  are  very  different;  when  employed 
with  dull  crimson,  there  is  no  fiery  or  yellow  element  in 
them,  but  only  rich  rose-red. 

These  results  are  brought  about  by  using  a dull  powder 
in  harmony  with  the  like  lustrous  ones.  You  can  try 
every  experiment  of  contrasted  tints.  Black  enriches  all 
the  metallic  colors  as  well  as  silver. 

“Flitters”  is  a name  given  to  sparkling  bits  of  lustrous 
matter  which  may  be  sprinkled  upon  the  surface  of  wet 
color  to  give  extraordinary  glitter  to  the  effect.  There 
are  little  bottles  of  “ flitters  ” to  be  procured  in  the  vari- 
ous shades  of  gold,  copper,  etc. 

Flitters  are  also  used  in  veining  leaves.  They  can  be 
used  by  mixing  with  the  medium,  although  they  will  pro- 
duce more  satisfactory  results  if  sprinkled  dry  upon  the 
surface  of  color  before  it  becomes  dry. 

There  is  very  great  inequality  in  the  colors  which  are 
sold  for  this  work,  and  the  slight  saving  which  can  be 
made  in  their  cost  will  hardly  compensate  one  for  the: 
inferiority  of  the  product.  The  most  permanent  and  sat- 
isfactory results  can  only  be  obtained  by  using  the  best. 

As  it  will  be  quite  impossible  for  the  novice. to  detect  any 
difference  in  the  colors  before  using  them,  it  will  be  pru- 


194 


SELF-INSTR  UCTIVE  LESSONS. 


dent  to  buy  only  from  reliable  dealers.  The  temptation 
to  substitute  inferior  goods  which  can  be  supplied  at  a 
lower  price,  so  as  to  have  the  appearance  of  selling  cheap, 
is  too  strong  to  be  resisted  by  some  who  are  in  the  trade. 
The  materials  supplied  by  Mr.  Tilton  are  reliable. 
Equally  good  can  be  obtained  of  others.  But  where  a 
doubt  exists,  send  to  Mr.  Tilton  rather  than  run  any  risks 
of  spoiling  the  material  intended  for  decoration. 

Brushes. 

The  kind  of  brush  to  use  depends  somewhat  upon 
the  material  to  be  painted  and  the  style  of  painting.  On 
coarse  or  rough  fabrics,  and  where  it  is  desirable  to  scrub 
the  paint  in,  a bristle  brush  will  be  better ; on  smooth 
materials,  and  when  a lighter  touch  is  required,  an  oil-color 
sable  will  work  more  satisfactorily.  Numbers  one  to  four 
are  all  good  sizes  to  have. 


Mixing  Colors. 

The  colors  can  be  mixed  in  a china  slant,  or  in  small 
tinting-saucers.  We  prefer  the  latter  for  convenience. 
The  metallics  of  the  better  quality  do  not  require  grind- 
ing with  a palette  knife.  They  may  be  mixed  with  the 
medium  with  the  brush.  During  the  painting  they 
should  be  stirred  frequently  with  the  brush,  as  the  colors 
sink  to  the  bottom.  Mix  but  a little  at  a time,  and  add 
color  and  medium  as  may  be  needed.  A very  little  expe- 
rience will  teach  one  how  to  manage  the  colors.  Some 
materials  will  require  a thick  mixture,  while  upon  others  a 


OIL  AND  WATER-COLOR  PAINTING. 


195 


better  effect  will  be  had  by  applying  it  thin,  that  is,  more 
medium  and  less  color. 

Material  and  Designs. 

At  the  present  time,  lustra  painting  is  done  more  on  plush 
and  velvet,  although  it  can  be  done  to  look  well  upon  any 
fabric.  The  material  can  be  obtained  with  the  design 
already  drawn  and  prepared  for  filling  in  with  colors ; or 
it  can  be  procured  plain,  and  the  design  transferred  to  it 
from  a transferring  design. 

Select,  especially  for  your  first  attempt,  from  these 
transferring  patterns,  one  representing  some  single-pet- 
aled,  flat  flowers,  with  well-marked  leaves,  or  brilliant  au- 
tumn leaves.  The  outlines  of  the  different  flowers  and 
leaves  should  be  separate  and  distinct,  leaving  agreeable 
forms  of  background  between,  the  figures  not  overlapping 
or  massed. 

The  Process. 

We  think  it  will  be  more  satisfactory  to  the  decorator 
to  make  her  first  attempt  on  some  waste  material.  Fasten 
the  material  to  your  open  frame,  or  pin  it  firmly  on  a 
drawing-board. 

A little  powder  from  any  one  of  the  bottles  should  lie 
put  upon  the  palette,  the  liquid  medium  added,  and  the 
two  ground  together  by  rubbing  with  the  palette  knife 
until  a perfectly  smooth  liquid  is  obtained.  Do  not  hesi- 
tate to  use  the  liquid  medium  freely,  as  the  color  should 
be  quite  wet  when  it  is  applied. 


SELF-IN STR UCTI VE  LESSONS. 


196 

The  lustrous  paints  may  be  laid  all  over  the  surface  of 
the  design.  You  are  not  to  attempt,  in  color,  any  absolute 
imitation  of  nature,  but  your  taste  will  lead  you  to  a 
pretty  adaptation  of  the  colors.  For  instance,  poppies 
may  be  represented  with  flaming  red  gold;  lilies,  with 
silver,  etc. 

Lay  the  lustrous  color  you  have  chosen  with  a scrub- 
brush  well  over  the  petals  of  the  flower,  rubbing  the 
liquid  well  in.  This  lustrous  paint  is  to  serve  as  the 
under-tone,  like  Chinese  white  in  body-color  painting. 
You  are  more  likely  to  get  on  too  little  than  too  much,  as 
you  want  thick,  brilliant  effects.  When  this  is  done, 
your  whole  design  will  appear  in  flat,  lustrous  tints,  as  if 
cut  out  of  different  tinsel  papers.  The  medium  is  of  such 
a nature  that  it  dries  quickly ; and  by  the  time  you  have 
covered  all  the  design  you  can  probably  work  again  on 
the  first  parts. 

The  lights  ancl  shadows  may  be  worked  in  as  the  fancy 
dictates,  using  the  light  lustrous  colors  for  the  high  lights, 
and  the  darker  colors  for  the  shadows. 

Another  method  is  to  use  the  dull  paints  for  modelling 
the  flat  under-tone  spoken  of  above,  and  also  for  heighten- 
ing the  effect  by  giving  some  repose  from  the  shiny  nature 
of  the  lustrous  surface.  The  paints  can  be  laid  on  top  of 
the  lustrous  ones,  leaving  these  to  represent  the  local 
color,  and  the  high  lights  may  be  given  by  touches  of  pure 
white,  or  whatever  color  harmony  may  suggest.  You  will 
find  that,  in  spite  of  their  brilliancy,  the  lustrous  paints 
are  lower  in  value  than  others,  although  I have  called 
these  “dull;”  for  instance,  pure  white  will  heighten  silver, 


OIL  AND  WATER-COLOR  PAINTING. 


197 


bright  yellow  will  appear  lighter  (in  value)  than  gold. 
On  the  other  hand,  “ dull  ” crimson  lake  will  appear  to 
shade  the  brilliancy  of  the  lustrous  red  gold. 

You  have  only  to  try  a few  experiments  with  the  colors 
to  understand  what  1 mean.  You  may  very  much  enrich 
the  lustre  of  the  lustrous  paints  b}r  overlaying  them  with 
touches  of  the  dull  ones. 

Paint  stems  and  tendrils  with  the  sable  brush,  either 
with  lustrous  paint  lined  with  dull,  or  exactly  the  reverse  ; 
do  not  attempt  very  line  lines,  as  they  are  not  effective. 

Instead  of  covering  the  whole  surface,  as  1 have  just 
described,  with  lustrous  paint,  you  may  work  as  in  Ken- 
sington or  other  velvet  painting,  leaving  the  material  you 
are  working  on  to  tell  as  a darker  part  of  the  design  ; using 
lustrous  paints  for  the  bright  edges  of  the  flowers  or 
leaves,  and  marking  the  outlines  where  you  like  with  dull 
paints  of  tints  suited  to  the  metallic  ones  they  are  near. 
On  linen  and  such  materials  no  under-tone  is  required. 
Use  both  lustrous  and  dull  paints  as  your  fancy  dictates. 

The  dull  paints  in  my  box  are  blue,  red,  yellow,  and 
emerald  green.  The  first  three,  being  primaries,  may  be 
combined  to  make  purple,  orange,  and  green,  but  emerald 
green  cannot  well  be  made  by  combination.  White  and 
black  are  needed  for  finishing  touches.  The  lustrous 
colors  are  so  rich  in  themselves  that  they  need  not  be  com- 
bined with  each  other ; use  each  direct  from  its  bottle, 
well  mixed  with  the  medium. 

While  you  will  probably  like  to  use  the  lustrous  paints 
with  great  freedom,  only  retouching  with  dull  paints,  you 
will  find  that  it  is  very  pretty  to  use  the  lustrous  ones 


198 


SELF-INS TR  UCTI VE  LESSONS. 


merely  as  accessory  to  ordinary  liower-painting.  For  this 
you  will  require  a greater  range  of  the  dull  paints  than  is 
allowed  you  in  this  box.  They  are  powder-colors,  easily 
procured  and  easily  managed,  combined  with  the  lustra 
medium.  You  may  enhance  their  effect  with  bright 
touches  of  lustrous  paint. 

Another  Method 

by  which  a considerable  saving  may  be  made  in  the 
quantity  of  metallic  colors  to  be  used,  and  with  better  ef- 
fect, too,  is  to  lay  a foundation  with  water-colors  before 
applying  the  metallics.  Proceed  as  follows.  We  will  sup- 
pose that  the  design  has  been  outlined  on  the  material  to 
be  painted : now,  with  a coat  of  water-color , till  in  the 
outlines ; that  is,  all  of  the  space  inside  of  the  outlines  is 
to  be  covered  with  a flat  or  even  coat  of  color;  paint  over 
this  with  lustra  colors. 

This  foundation  of  water-color  paint  may  be  Chinese 
white,  or  a color  to  match  the  tint  of  the  material  to  be 
painted  upon.  If  Chinese  white  is  used,  lighter  as  well  as 
brighter  effects  will  be  produced  by  painting  over  it.  If 
the  foundation  color  be  made  to  match  the  material  to  be 
painted  on,  the  effect  will  be  similar  to  what  would  be 
obtained  by  painting  directly  upon  the  material.  By  this 
method  a very  small  quantity  of  lustra  color  can  be  made 
to  produce  more  satisfactory  results  than  a larger  amount 
will  do  by  the  old  way.  If  the  water-colors  are  mixed  too 
thin  they  will  sink'  in  and  not  show  when  dry  — they 
should  be  applied  quite  thick. 

After  painting,  do  not  fail  to  wash  out  your  brushes, 


OIL  AND  WATER-COLOR  PAINTING. 


199 


first  in  turpentine,  and  afterwards  with  soap  and  water ; 
and  to  have  them  thoroughly  clean  when  you  begin  to 
work  the  next  time. 

General  Remarks. 

By  reading  the  previous  directions,  the  reader  will  see 
that  there  are  several  methods  for  painting  with  lustra 
colors,  viz. : — 

1st.  By  completely  covering  the  design  with  lustra 
colors,  and  afterwards  working  in  the  lights  and  shadows 
with  darker  or  lighter  colors  over  the  first  painting.  By 
this  method  an  extravagant  use  of  the  metal  lies  is  de- 
manded. 

2d.  By  mixing  the  bronze  colors  thin  — that  is,  more 
medium  and  less  color  — and  applying  it  so  that  the  mate- 
rial painted  upon  will  show  through  and  form  the  shading. 

3d.  By  using  the  dull  colors  in  connection  with  the 
bronzes. 

4th.  By  filling  in  the  outline  with  a foundation  of 
water-color  paint  and  applying  the  lustra  colors  over  it. 
This  method  involves  the  most  economical  use  of  the 
bronzes. 

It  will  be  observed  that  we  speak  of  lustra  colors  both 
as  bronzes  and  metallics ; they  are  simply  different  names 
for  the  same  thing. 

In  working  on  plush,  velvet,  and  other  delicate  materials, 
the  hands  should  not  be  allowed  to  rest  upon  the  work  so 
as  to  crush  the  pile  or  otherwise  disfigure  it. 

Do  not  fold  or  crease  the  work,  or  attempt  to  decorate 
on  plush,  velvet  or  silk  which  has  been  creased.  If  occa- 


200 


SEL  F-INS  TR  UC  TI VE  LESSONS. 


sion  requires  a transportation  of  work  in  process  of  paint- 
ing, or  after  it  is  completed,  it  should  be  rolled , not  folded. 

It  is  not  supposed  that  any  attempt  will  be  made  to 
follow  nature  in  lustra  painting,  except  in  a general  way. 
Consequently  liberties  may  be  taken  which  would  not  be 
allowable  in  any  other  style  of  painting — -thus,  flowers 
growing  on  the  same  stalk  may  he  painted  differently,  etc. 

In  shading  or  blending,  do  not  cleanse  the  brush  of  the  pre- 
vious color,  but  keep  right  on  with  the  second  ; the  old  color 
left  in  the  brush  will  assist  in  mingling  the  two  together. 

Dry  lustra  colors  are  sometimes  used  to  obtain  high 
lights,  or  especially  brilliant  effects.  They  should  be  ap- 
plied with  a dry  brush  over  colors  previously  laid  on.  Of 
course,  they  must  be  used  in  this  way  before  the  first  color 
has  had  time  to  dry. 

Lustra  colors  are  more  effective  on  black  or  dark  grounds. 

During  painting,  it  will  be  found  convenient  to  have  a 
cup  partly  filled  with  turpentine  at  hand;  it  will  be  found 
useful  in  cleansing  brushes,  removing  spots  from  the  hands 
or  material,  etc. 

It  will  assist  one  in  painting  to  rinse  out  the  brushes 
occasionally  in  turpentine,  to  prevent  their  becoming 
clogged ; and  when  the  painting  is  finished  for  the  day, 
wash  out  the  brushes  thoroughly  with  soap  and  warm 
water.  If  they  are  left  to  dry  without  proper  care,  they 
will  be  unfit  for  further  use ; whereas  by  giving  them  proper 
attention  they  can  be  made  to  last  for  a long  time,  and  to 
improve  by  use. 

Lustra  painting  may  be  done  by  artificial  light  as  well 
as  by  daylight. 


OIL  AND  WATER-COLOR  PAINTING. 


201 


Lustra  Colors  may  be  used  on 

All  textile  fabrics,  which  include  silk  satin,  plush, 
velvet,  etc.,  viz.:  — 

LINEN. 

D ’oylies,  napkins,  etc. 

COTTON. 

Momie-cloth,  bolting-cloth,  muslin,  jean',  nainsook,  sat- 
ine,  cotton-velvet,  etc. 

WOOLEN. 

Broadcloth,  flannel,  felting,  cashmere,  billiard-cloth,  etc., 
can  be  painted  upon. 

MISCELLANEOUS. 

Straw  hats,  straw  matting,  crazy  patch-work,  etc. 


INLAID  PAINTING. 


Note  to  Chapter  XVII. 

Materials  the  same  as  in  the  previous  chapter. 

After  this  book  was  in  type,  and  while  Miss  Hale  was 
absent,  the  following  chapter  was  prepared  by  other  hands 
and  from  different  experience.  We  have  printed  the 
chapter  just  as  it  was  handed  to  us,  with  these  comments. 

We  think  the  writer,  in  her  enthusiasm  for  “Inlaid 
Painting,”  rather  overstates  the  difficulties  of  the  old 
method.  While  we  think  that  the  new  style  may  be  more 
easy  of  execution,  inasmuch  as  the  rough  surface  has  been 
changed  to  a smooth,  there  is  no  doubt  but  what  those 
who  have  never  before  attempted  any  style  of  painting 
can  succeed  satisfactorily  with  the  first  method. 

The  water-color  foundation  described  in  Chapter  XVI. 
will  apply  to  “ Inlaid  Painting.” 


204 


CHAPTER  XVII. 


Inlaid  Painting. 

The  multitudes  of  people  everywhere  seeking  for  some- 
thing to  do  in  decorative  art  which  will  not  require  a long 
and  tedious  study  to  enable  one  to  produce  satisfactory 
results  — in  fact,  something  that  they  can  “sit  right  down 
and  do  without  learning  how”  — will  find  a very  near 
approach  to  it  in  Inlaid  Painting. 

This  art,  requiring  but  a slight  expenditure  of  time 
or  money  in  comparison  with  the  remuneration  it  can  be 


206 


SELF-INS TR  UCTIVE  LESSONS. 


made  to  afford,  is  really  quite  charming,  one  of  its  great- 
est attractions  being  the  ease  with  which  it  is  acquired 
and  its  facility  of  execution.  Another  advantage  is  the 
rapidity  with  which  it  can  be  done,  in  comparison  with 
embroidery,  oil-painting,  or,  in  fact,  any  other  form  of 
decoration. 

The  design  being  already  prepared  and  executed  in  the 
material,  there  is,  of  course,  no  drawing  to  be  done.  It  is 
work  which  can  be  taken  up  at  odd  moments  or  at  any 
time,  and  left  unceremoniously  without  disadvantage.  It 
may  be  done  in  the  evening  by  artificial  light  as  well  as 
by  daylight,  which  will  recommend  it  to  those  who  have 
no  other  time  but  evenings  to  do  such  work  in. 

There  are  no  exasperating  delays  in  waiting  for  colors 
to  dry  before  others  can  be  applied,  and,  above  all,  lustra 
colors  appear  in  their  superiority  when  displayed  on  plush 
and  velvet  in  the  style  here  introduced  as  Inlaid  Painting. 

The  advantages  embodied  in  this  method  of  painting 
.are  not  nullified  or  rendered  inoperative  from  any  lack  of 
opportunity  for  use,  as  there  are  innumerable  really  useful 
and  ornamental  things  which  can  be  made  from  it,  which 
will  be  thankfully  received  as  presents,  or  find  ready  sale 
if  made  to  realize  money  from. 

The  painting  is  done  on  plush  and  velvet,  prepared  by 
Mr.  Tilton  especially  for  the  work,  bv  crushing,  or,  as  it 
Avere,  inlaying  the  pattern  with  the  material.  Under 
ordinary  circumstances,  plush  and  velvet  are  the  most  diffi- 
cult as  well  as  the  most  unsatisfactory  of  all  fabrics  to 
paint  upon.  Even  those  who  have  had  long  experience  in 
the  use  of  colors  object  to  them,  while  a prudent  beginner 


OIL  AND  WATER-COLOR  PAINTING. 


207 


would  hardly  attempt  to  work  on  such  difficult  and  unre- 
liable surfaces.  The  reason  for  this  is  that  the  long  pile 
or  nap  renders  it  peculiarly  troublesome  to  operate  upon, 
either  with  pencil  or  paint.  Even  after  the  design  has 
been  drawn  or  transferred,  it  will  be  found  almost  impossi- 
ble to  control  the  paint  so  as  to  obtain  clear  and  sharp 
outlines,  and  the  whole  work  presents  a matted  and 
jagged  appearance,  besides  absorbing  paint  in  quantities 
out  of  all  proportion  to  the  space  covered.  Of  course,  the 
work  is  done,  but  in  quite  a limited  way,  because  of  its 
many  difficulties. 

By  the  inlaying  method,  all  of  these  difficulties  are  at 
once  removed.  There  is  no  drawing  or  transferring  to  do, 
as  the  design  has  been  set  in  the  material,  and  in  the  pro- 
cess those  portions  of  the  fabric  which  are  to  receive 
paint  have  been  transformed  from  the  most  difficult  of  all 
fabrics  to  work  upon  with  colors  to  the  most  simple  and 
enticing.  Instead  of  requiring  large  quantities  of  paint 
to  scrub  in,  as  in  the  former  case,  the  most  brilliant  and 
effective  results  from  inlaid  painting  with  lustra  colors 
will  be  obtained  by  applying  the  paint  sparingly  to  the 
parts  which  have  been  inlaid  to  receive  them;  thus 
obtaining  all  of  the  advantages  of  plush  and  velvet  paint- 
ing, without  any  of  the  disadvantages. 

Proceed  as  follows : After  selecting  a design,  pin  it 
to  the  drawing-board,  with  blotting-paper  between  it  and 
the  board.  The  object  in  using  blotting-paper  is  to 
prevent  the  material  from  sticking  to  the  board,  and  to 
absorb  any  of  the  medium  or  paint  which  may  penetrate 
it.  The  method  previously  given  for  painting  with  lustra 


208 


SELF-INS TR  UCTIVE  LESSONS. 


colors  applies  to  plush  and  fabrics  having  pile  or  nap  in 
their  original  condition  (that  is,  not  prepared  for  inlaid 
painting),  and  must  not  be  confounded  with  the  instructions 
we  now  propose  to  give  for  fabrics  which  have  been  prepared 
for  inlaid  painting.  Between  these  two  methods  there  is 
a wide  difference,  and  a knowledge  of  both  will  enable 
one  to  understand  how  to  paint  with  lustra  colors  on  any 
fabric. 

In  painting  on  plush  and  velvet  after  the  old  style  of 
lustra  painting,  the  colors  must  be  mixed  quite  thick,  and 
considerable  quantities  are  consumed  in  the  scrubbing  or 
rubbing-in  process,  which  is  required  to  produce  effects  ; 
while  for  inlaid  painting  the  colors  should  be  quite  thin ; 
that  is,  more  of  the  medium  and  less  of  the  bronze  being 
used,  and  laid  on  (not  rubbed  in)  quite  sparingly.  Their 
application  is  quite  similar  to  the  method  of  using  water- 
colors  on  paper. 

In  the  old  form  a bristle  brush  is  employed,  so  that  the 
colors  may  be  scrubbed  or  rubbed  in,  while  inlaid  painting 
requires  no  such  harsh  treatment.  The  colors  can  be 
applied  with  oil-color  sable  brushes;  numbers  two  and  four 
are  very  good  sizes  for  all  ordinary  work.  We  have  tried 
camels’  hair  brushes,  but  they  are  too  soft  and  yielding  to 
be  effective. 

The  results  produced  by  these  two  methods  of  painting 
which  have  been  described  are  quite  different.  The 
process  of  scrubbing-in  is  apt  to  destroy  the  irridescent  or 
opaline  quality  which  constitutes  one  of  the  chief  beauties 
of  lustra  colors,  giving  instead  a hard,  metallic  look  not  at 
all  agreeable  to  the  eye  ; while  the  method  of  inlaid  paint- 


OIL  AND  WATER-COLOR  PAINTING. 


209 


ing  preserves  the  colors  in  all  of  their  natural  brilliancy 
and  irridescence.  We  have  before  uS  at  this  writing  the 
same  design  worked  out  by  the  two  methods,  and  notwith- 
standing the  first  was  done  by  a teacher  who  has  had 
years  of  experience  with  color,  and  the  inlaid  by  a young 
lady  just  commencing,  the  latter  has  attracted  the  greater 
attention  and  admiration.  This  comment  is  not  intended 
to  discourage  the  old  form  of  lustra  painting,  but  to  show 
that  brilliant  results  can  be  obtained  from  inlaid  painting 
without  a long  and  perhaps  tedious  course  of  practice  by 
those  who  may  not  have  the  time  to  give  to  decorative 
work. 

Mix  but  a small  quantity  of  paint  at  a time,  as  follows : 
pour  a few  drops  of  medium  into  a tinting  saucer,  and  add 
the  bronze ; it  will  be  impossible  to  give  the  exact  propor- 
tions— a little  experience  will  be  the  best  teacher.  The 
mixture  should  be  quite  thin ; that  is,  the  medium  must 
not  be  made  thick  with  bronze,  but  only  enough  added  so 
that  when  applied  to  a fabric  it  will  sparsely  cover  the 
design  and  allow  the  material  to  show  through.  This  is 
desirable  for  producing  certain  effects.  A second  applica- 
tion or  painting  will  completely  cover  any  parts  requiring 
to  be  fully  covered.  One  great  trouble  with  beginners  is 
that  they  use  too  much  bronze  in  mixing,  and  load  it  on 
to  the  design.  This  has  a tendency  to  destro}5,  the  effects 
which  these  colors  are  intended  to  produce.  It  is  possible 
that  some  may  prefer  the  loading  process ; it  will  require 
no  especial  instructions.  Qur  object  is  to  avoid  it,  as  we 
think  that  the  beauty  of  lustra  colors  is  their  irridescence, 
and  to  preserve  this  requires  as  much  care  in  mixing  them 
as  in  laying  them  on. 


210 


SELF-INS TR  UC TI  YE  LESSONS. 


We  give  below  a list  of  some  of  the  designs  which  have 
been  prepared  expressly  for  “Inlaid  Painting,”  their  di- 
mensions, directions  for  painting,  and  the  uses  which  can 
be  made  of  them. 

No.  1.  Daisy.  Dimensions,  7x4^  inches. 

Directions  for  painting:  — For  the  petals,  either  gold  or 
silver  may  be  used.  Silver  will  be  more  effective  on  dark 
material.  Begin  at  the  extremity  of  the  petals,  with  the 
brush  well  charged  with  color,  mixed  thinly,  that  is,  con- 
siderable medium  with  less  color  than  would  be  used  in 
ordinary  lustra  painting ; draw  the  brush  lightly  toward 
the  centre  of  the  flower.  The  effect  of  this  will  be  that 
the  material  will  show  through  and  assist  in  the  shading. 
With  another  coat  go  over  the  extremities  and  outer  edges. 
This  will  give  depth  instead  of  a flat  appearance.  If 
silver  has  been  used,  fill  in  the  centre  with  lemon  and 
orange.  Use  the  orange  over  the  lemon  for  the  darker 
shading.  The  centre  can  be  made  more  brilliant  with  flit- 
ters if  desired. 

For  the  leaves , use  green,  mixed  as  above  directed,  laying 
it  on  heavily  at  the  edges,  and  working  lightly  to  the  centre 
of  the  leaf,  leaving  a line  down  the  centre  for  the  veining. 
The  veining  can  be  done  with  flitters  or  dry  bronze  pow- 
der, first  painting  with  a coat  of  medium  the  space  left  for 
veins,  so  that  the  powder  will  adhere.  For  this,  use  a fine 
brush.  The  stems  may  be  green  or  a darker  color. 

No.  2.  Narcissus.  Dimensions  7^  x 4|  inches. 

Directions  for  painting:  — The  method  will  be  the  same 


OIL  AND  WATER-COLOR  PAINTING. 


211 


as  in  former  directions ; that  is,  the  extremities  and  outer 
edges  heavier,  working  lightly  towards  the  centre. 

Leaves , green. 

Petals  of  flower,  white — silver.  It  will  be  observed 
that  several  of  the  petals  curl  so  as  to  show  a portion  of 
the  under  side.  This  is  indicated  in  the  design  by  a line 
in  the  petal.  The  curled-over  part  should  be  painted 
heavier  or  thicker  than  the  other  parts,  while  directly 
under  the  curled  part  the  color  should  be  applied  very 
lightly,  allowing  the  material  to  show  though  and  form  a 
dark  shadow. 

The  centre , paint  with  copper  first;  afterwards,  paint 
the  outer  circle  of  the  centre  with  orange. 

No.  3.  Azalea.  Dimensions  7|  x 4^  inches. 

Directions  for  painting:  — The  method  will  be  the  same 
as  in  former  directions ; that  is,  the  extremities  and  outer 
edges  heavier,  working  lightly  toward  the  centre. 

The  floivers  are  either  pink  or  white.  White  is  usually 
the  more  effective.  If  white,  use  silver;  for  red,  scarlet; 
following  the  same  general  directions  for  curled  leaves  as 
in  the  narcissus. 

Stamens , gold. 

Leaves , green.  It  will  be  observed  that  some  leaves 
overlap  others.  In  all  such  cases  the  leaf  nearest  to  you 
should  be  painted  with  more  color  than  the  leaves  behind 
it.  The  distant  leaves  can  be  made  to  appear  darker  by 
using  less  color,  so  that  the  material  will  show  through 
and  form  a shadow. 

Stems,  copper. 


212 


SELF-INSTRUCTIVE  LESSONS. 


No.  4.  Poppy.  Dimensions,  7 x 4|  inches. 

First,  paint  the  flower  petals  with  the  dull  red  from  the 
box,  mixing  it  with  the  medium;  over  this,  paint  with  the 
metallic  scarlet.  Care  must  be  used  not  to  get  too  much 
color  on  the  centre  and  lower  portions  of  the  petals. 
Follow  the  same  general  directions  for  applying  both  colors 
which  we  have  before  given.  This  will  throw  one  leaf  up 
from  another,  and  give  a deep,  full  appearance. 

Leaves , green.  First,  however,  paint  them  with  a coat 
of  silver,  and  over  that  with  green.  The  silver  will 
partly  show  through,  giving  the  leaves  that  grayish  color 
seen  with  poppies. 

The  dots  in  the  centre  may  be  green. 

Buds  and  stems , green. 

No.  5.  Apple  Blossoms.  Dimensions,  5 x 4|  inches. 

Directions  for  painting:  — -The  method  will  be  the  same 
as  in  former  directions ; that  is,  the  extremities  and  outer 
edges  heavier,  working  lightly  towards  the  centres. 

Flower  petals,  white  (silver),  edged  with  pink  (scarlet). 

Outside  petals,  scarlet. 

Stamens , either  gold  or  copper. 

Centre  offlotver,  a dot  of  green. 

Buds,  scarlet. 

Leaves , green. 

Stems  and  branch,  copper. 

In  painting  the  branch,  one  side  should  be  heavier  than 
the  other.  That  is,  cover  one  side  completely,  so  that  the 
material  will  not  show  through,  while  the  other  side  may 


OIL  AND  WATER-COLOR  PAINTING. 


213 


be  put  on  thinly,  allowing  the  material  to  show  through, 
and  assist  in  shading,  or  the  entire  branch  may  be  painted 
with  thin  color,  and  a second  coat  over  one  half  of  it, 
which  will  produce  the  same  effect. 

No.  6.  Wild  Rose.  Dimensions,  5|  x 4 inches. 

Directions  for  painting:  — The  method  will  be  the  same 
as  in  former  directions;  that  is,  the  extremities  and  outer 
edges  heavier,  working  lightly  towards  the  centre. 

Floiver  petals , scarlet. 

Centre,  green,  with  dots  of  orange  around  it. 

Buds , red  — scarlet. 

Leaves  and  stems , green. 

The  small  star-flower  may  be  painted  with  a gold  center 
and  silver  petals. 

No.  7.  Rosebuds.  Dimensions,  x 41  inches. 

Directions  for  painting:  — The  method  will  be  the  same 
as  in  former  directions ; that  is,  the  extremities  and  outer 
edges  heavier,  working  more  lightly  toward  the  centre. 
The  buds  may  be  painted  with  either  red  (scarlet),  white 
(silver),  or  yellow  (orange). 

Leaves  and  stems,  green. 

No.  8.  Woodbine.  Dimensions,  5 x 15  inches. 

Directions  for  painting: — The  method  will  be  the  same 
as  in  former  directions ; that  is,  the  extremities  and  outer 
edges  heavier,  working  more  lightly  toward  the  centre. 
In  painting  the  woodbine,  nearly  if  not  quite  all  of  the 
lustra  colors  can  be  used  on  the  leaves.  One  may  follow 


214 


SELF-INSTRUCTIVE  LESSONS. 


his  own  fancy  in  selecting  the  colors.  It  will  be  well, 
however,  to  finish  each  cluster  of  leaves  with  the  color  it 
is  begun  with. 

Berries , purple  ; lights,  silver. 

Stems  and  tendrils , scarlet  or  copper. 

General  Remarks. 

The  directions  for  painting  “ The  Daisy,”  No.  1,  are 
. given  more  in  detail  than  in  those  which  follow,  and  as 
the  same  principle  will  apply  to  all,  there  seems  to  be  no 
need  of  repeating  the  same  thing  in  each,  and  we  refer 
from  all  to  No.  1 for  general  method. 

In  painting  leaves,  a very  pretty  effect  can  sometimes  be 
produced  by  blending  a contrasting  color. 

The  method  of  painting  in  a foundation  with  water- 
colors,  referred  to  in  the  latter  part  of  Chapter  XVI.,  may 
be  practised  with  equally  good  effects  in  this  style  of  paint- 
ing. Another  way  will  be  to  underlay  every  thing  with 
silver.  We  think  Chinese  white  will  answer  quite  as 
well,  however. 

In  this  same  book,  under  another  heading,  directions  are 
given  for  painting  with  opaque  water-colors.  All  of  these 
“ Inlaid  Designs  ” may  be  painted  in  that  way  in  imitation 
of  nature,  and  afterwards  touched  up  with  lustra  colors  so 
as  to  be  quite  effective.  Or  they  can  be  painted  over 
entire  with  a very  thin  coat  of  lustra  colors,  with  good 
results. 

The  Inlaid  Designs  may  also  be  painted  in  the  regular 
way,  with  either  oil  or  water  colors. 


OIL  AND  WATER-COLOR  PAINTING. 


215 


What  to  do  with  Articles  which  have  been 
Painted. 

The  above  materials,  after  being  painted  upon,  can  be 
made  into  almost  innumerable  articles,  including,  — 

Panels  for  clocks,  thermometers,  calendars,  door-panels, 
etc. ; 

Brush-cases,  slipper-cases,  umbrella-eases,  shaving-eases  ; 

Bags  of  all  kinds,  rag-bags,  shopping-bags,  tobacco- 
pouches  ; 

Mantel-shelf  scarfs,  lambrequins,  curtains,  portieres, 
clock-scarfs,  bracket-scarfs,  piano-covers,  furniture-covers, 
fireplace-curtains,  window-curtains,  sofa-cushions,  clock- 
carpets  ; 

Baskets,  catch-alls,  clothes-baskets,  work-baskets,  waste- 
baskets, wall-pockets ; 

Banner-screens,  hand-screens,  folding-screens,  fire-screens, 
tea-screens ; 

Toilet-covers,  toilet-sets,  bureau-sets,  pin-cushion  mats, 
tidies,  pillow-shams; 

Glove-boxes,  handkerchief  sacks  and  boxes,  key-boards, 
tea-cosies,  watch-cases ; 

Table-mats,  d ’oylies,  side-board  covers,  easel-scarfs, 
mirror-scarfs,  picture-scarfs,  tray-covers,  duster-covers, 
table-covers ; 

Shawls,  carriage-shawls,  baby-carriage  outfit,  slumber- 
robes,  dog-blankets,  wall-frieze; 

Lamp-shades,  slippers,  fans; 

Bell-pulls,  rolls  for  feather-dusters,  duster-cases,  blotter- 
covers,  music-rolls,  satchels,  book-covers,  frame-borders, 
portfolio-covers ; 


216 


SELF-INSTRUCTIVE  LESSONS. 


Christmas  and  New  Year’s  cards,  Valentines,  Easter  and 
birthday-cards. 

For  other  information  see  Chapter  XXIV.,  What  to 
Decorate. 


TAPESTRY  PAINTING. 


The  list  of  materials  required  for  Tapestry  Painting 
will  be  found  preceding  Chapter  XI.,  of  which  this  is  a 
continuation. 


218 


CHAPTER  XVIII. 

TAPESTRY  PAINTING. 

The  process  of  tapestry  painting  with  the  durable  water 
colors  described  in  Chapter  XI.  is  an  imitation  of  the  old 
Avoven  tapestries.  These  were  in  vogue  in  remote  times 
for  the  decoration  of  Avails.  The  ancient  tapestry  Avas 
woven  by  the  so-called  “ high-Avarp  ” loom ; in  this  pro- 
cess, the  design  Avas  fastened  across  the  front  of  the  Avarp, 
and  traced  in  color  on  the  back,  thus  reversing  the  picture 
to  be  copied,  which  is  then  worked  out  ahvays  from  the 

219 


220 


SELF-INS TR  UC TI VE  LESSONS. 


back,  so  that  in  front  the  design  appears  exactly  repro- 
duced. The  Roman  theatres  had  curtains  of  such  tapes- 
try, of  which  the  modern  drop  scene  is  a relic.  The 
manufactory  had  fallen  into  decay  before  the  twelfth  cen- 
tury, when  it  was  revived,  and  began  to  thrive  again, 
especially  in  Flanders.  It  was  also  made  in  Paris,  but 
the  products  of  Brussels  and  Arras  were  preferred ; in 
fact,  the  name  of  the  latter  place  became  transferred  to 
the  work,  as  we  know  from  Polonius  “behind  the  arras” 
in  Shakespeare.  The  famous  tapestries  for  the  Sixtine 
Chapel  of  Leo  X.,  for  which  Raphael  drew  the  cartoon, 
were  woven  at  Brussels.  Leonardo  da  Vinci  had  already 
made  tapestry  designs ; and  Raphael  and  his  pupil  Giulio 
Romano  also  found  them  worthy  subjects  for  their  skill. 

The  royal  factory  of  Gobelins,  in  Paris,  originated  as 
early  as  1450,  when  Jean  Gobelin  erected  a dyeing  estab- 
lishment on  the  banks  of  a little  brook  running  into  the 
Seine.  This  was  combined  by  his  successors  with  a manu- 
factory of  tapestry,  which  had  acquired  such  a high 
reputation  by  the  middle  of  the  seventeenth  century  that 
Louis  XIV.  caused  the  establishment  to  be  purchased  by 
government,  and  carried  on  at  the  public  expense.  The 
manufactory  was  found,  however,  to  yield  profits  totally 
inadequate  to  the  expense  of  its  maintenance.  It  was 
therefore  converted  into  an  establishment  to  supply  the 
family  of  the  reigning  monarch  with  the  choicest  fabrics 
of  art,  which  were  also  presented,  as  gifts,  to  foreign 
courts,  ambassadors,  etc. 

Contemporary  with  the  Gobelin  tapestry  was  that  of 
Beauvais,  upon  low-warp  looms,  of  which  the  process 


OIL  AND  WATER-COLOR  PAINTING. 


221 


slightly  differs  from  the  other,  with  less  valuable,  though 
beautiful,  results. 

As  tapestry,  therefore,  has  for  its  object  to  copy  works 
of  high  art  with  textiles,  in  order  to  have  the  strength  and 
durability  of  woven  stuff,  it  seems  most  unsuitable  to 
imitate  the  process  with  paints,  transferring  the  defects 
and  faults  of  the  process  into  the  realm  of  art.  It  is  like 
translating  a translated  book  back  into  its  original  tongue, 
and  with  it  all  the  errors  which  may  have  crept  into  the 
first  transcript. 

However,  with  the  advisability  of  the  practice  we  have 
not  now  to  do.  This  is  the  way  it  is  done. 

Canvas  can  be  procured,  woven  with  yarn,  prepared  for 
this  kind  of  painting,  with  an  especial  affinity  for  the 
liquid  colors. 

It  should  be  stretched  on  a frame  so  that  the  strands, 
or  ribs,  are  kept  straight,  and  parallel  to  the  edges  of  the 
stretcher.  This  can  easily  be  done,  with  ordinary  care. 
The  canvas  should  not  be  strained  too  tightly.  The 
brushes  are  the  scrub  brushes  already  described  (also  called 
Poonah  or  stencil  brushes),  with  several  bristle  brushes  to 
lay  in  small  tints  and  fill  in  corners  up  to  outlines,  not 
manageable  with  the  scrubber.  One  brush  may  be  used 
for  all  the  various  reds,  another  for  the  greens,  etc. 

The  design  may  be  pounced  upon  the  canvas,  or  trans- 
ferred by  Tilton’s  transferring  method,  from  a good  water- 
color  design,  previously  prepared.  As  the  object  is  to 
reproduce  ancient  tapestry,  the  design  had  best  be  copied 
from  some  old,  authenticated  piece.  If  you  like,  you  can 
imitate  the  worn  places  and  defects,  and  try  to  reproduce 


222 


SELF-INSTRUCTIVE  LESSONS. 


the  faded  d illness  of  the  colors  ; but,  as  the  especial  char- 
acteristic of  the  tapestry  colors  is  their  brilliancy,  you  will 
do  better  to  aim  at  restoring  the  brightness  of  your  copy, 
as  it  came  fresh  from  the  Gobelin  loom  some  two  centuries 
ago.  Landscapes  are  the  most  characteristic  subjects  for 
tapestry,  with  much  movement  of  knights,  fair  dames, 
horses,  pet  dogs,  in  the  foreground,  all  in  rich  dresses  and 
bright  colors. 

The  design,  once  upon  the  canvas,  is  outlined  with  a 
sable  brush  and  the  colors  appropriate  to  the  tone  of  the 
object  to  be  painted ; thus,  for  the  foliage  of  plants,  a 
green  tone  is  used,  the  trunks  of  the  trees  and  foreground 
details  may  be  burnt  sienna.  The  colors  should  be  diluted 
with  water,  as  they  are  very  strong  and  brilliant  in  the 
bottle,  but  do  not  make  them  too  pale  ; for,  as  the  colors 
become  paler  in  drying,  it  is  desirable  to  make  every  tone 
deeper  than  that  of  the  copy.  Several  washes  of  the  same 
tone  may  be  overlaid  to  obtain  the  various  depths  of  value 
desired  for  the  highest  light,  the  local  color,  the  defining 
tone,  or  third  value,  and  the  deepest  darks,  or  “ touching 
up  ” tone  for  the  final  markings. 

These  directions,  with  ordinary  knowledge  of  color 
and  some  little  experience  in  landscape  painting,  will  en- 
able you  to  produce  the  required  effects,  only  remember 
that  you  are  not  imitating  nature,  but  the  stiff  forms  of 
an  ancient  picture  and  the  tints  of  faded  wools.  A pecu- 
liar faded  grade  of  the  greens  and  an  unnatural  burnt- 
sienna  yellow  should  pervade  the  work,  plants  out  of 
proportion  distinguish  the  foreground,  and  impossible  rivers 
running  under  impracticable  bridges.  In  this  description, 


OIL  AND  WATER-COLOR  PAINTING. 


223 


I am  not  criticising  the  highest  tapestry  work  from  de- 
signs of  Raphael  or  Da  Vinci,  but  the  average  excellence 
of  old  tapestry  landscape.  If  you  wished  to  copy  the 
Sistine  Madonna,  I cannot  imagine  that  you  would  choose 
to  represent  it  translated  into  - woven  tapestry  and  back 
again  with  pigments. 

Do  not  try  to  conceal  the  ribs  of  the  canvas,  but  paint 
along  the  lines  of  it  when  possible,  as  if  working  a row  of 
stitches.  In  examining  tapestry,  you  will  see  that  the 
outlines  are  always  upright,  pointed,  sometimes  tapered, 
but  always  with  a vertical  tendency,  not  slanting,  and 
never  curved,  the  result  of  the  ribs,  or  lines,  in  which  it  is 
woven.  For  the  same  reason,  the  tones  are  in  separate 
values,  as  Berlin  wools  are  in  skeins,  and  this  effect  should 
be  imitated. 

The  following  list  of  colors  contains  those  best  suited 
to  imitate  the  tints  of  ancient  tapestries  : — 


Turquoise  Blue. 
Ultramarine. 
Prussian  Blue. 
Indigo. 


Cobalt. 


BLUES. 


REDS. 

Carmine. 

Rose  Madder. 
Carmine  Lake. 


Vermilion. 
Red  Lead. 


BROWNS. 

Sepia. 


GREENS. 


Raw  Umber. 
Cassel  Earth. 
Burnt  Sienna. 
Red  Brown. 


Vegetable  Green. 
Emerald  Green. 
Prussian  Green. 
Sap  Green. 

Olive  Green. 


Vandyke  Brown. 


224 


SELF-INSTRUCTIVE  LESSONS. 


PURPLES. 
Violet  (bluish). 
Purple  Violet. 


YELLOWS. 
Chrome. 
Golden  Yellow. 
Cadmium. 

Raw  Sienna. 


PAINTING  WITH  WATER-COLORS 

ON 

MUSLIN  AND  OTHER  SEMI-TRANSPARENT  TEXTILES, 
SATIN-FACED  JEAN,  SATEEN,  LACE, 

AND  RICE  PAPER. 


MATERIALS. 


The  textile  fabrics  mentioned  in  the  following  chapter: 

Drawing  Board  or  Frame. 

A set  of  Water  or  Liquid  Colors, 

Chinese  White. 

Blending  Fluid. 

A Number  8 Lead  Pencil. 

Brushes. 

Gelatine. 

Gum  Arabic. 

GENERAL  REMARKS. 

In  undertaking  to  paint  on  any  new  fabric,  the  prudent 
worker  will  give  a short  time  to  practise  on  some  waste 
material  before  beginning  with  the  real  work,  so  as  to 
become  acquainted  with  its  peculiarities.  It  will  not  be 
difficult  to  acquire  the  knack  of  painting  on  muslin,  al- 
though the  first  attempt  may  not  be  successful.  In  the 
following  chapter  the  reader  is  directed  to  stretch  the 
material  in  an  open  frame ; a hoop  frame,  such  as  is  used 
in  embroidery,  will  answer.  They  can  be  bought  at  the 
embroidery  store ; or  one  can  very  easily  be  made  with 
two  hoops,  one  just  fitting  into  the  other.  Lay  the  mate- 


OIL  AND  WATER-COLOR  PAINTING. 


227 


rial  over  the  smaller  hoop,  then  fit  the  larger  one  over  it, 
as  a cover  fits  its  box,  which  will  secure  the  muslin  and 
stretch  it  at.  the  same  time.  In  this  way  an  opportunity 
will  be  afforded  to  work  on  both  sides  of  the  material,  if 
desirable ; and  if  gelatine  is  used,  as  hereafter  described, 
it  will  be  free  to  dry  without  sticking  to  anything,  as 
might  be  the  case  if  stretched  to  a drawing-board. 

The  design  may  be  drawn  or  traced  on  the  material 
either  before  or  after  stretching ; but  we  think  it  will  be 
found  more  convenient  to  do  so  before  it  is  stretched:  and 
if  it  is  to  be  painted  on  both  sides  the  design  should  be 
drawn  on  both  sides,  which  can  be  done  quite  easily  as 
follows:  after  drawing  on  one  side,  turn  the  material  over, 
laying  it  upon  a white  surface,  when  the  lines  which  have 
been  traced  on  the  other  side  will  show  through,  and  can 
be  marked  over  without  difficulty.  The  frame,  however, 
is  only  practicable  for  small  work.  When  large  pieces  are 
to  be  painted  it  must  be  dispensed  with,  and  some  smooth 
board  of  convenient  length  be  substituted.  This  should 
be  covered  with  white  paper,  and  over  it  stretch  the  mate- 
rial with  the  design  traced  upon  it. 

In  the  instructions  for  painting  on  muslin,  the  reader  is 
told  to  first  paint  over,  or  fill  in,  the  outlines  of  the  de- 
sign with  Chinese  White,  the  object  being  to  obtain  a 
foundation  to  work  upon,  as  it  will  be  found  quite  im- 
possible to  paint  directly  on  the  material,  with  thin 
transparent  colors,  without  danger  of  their  spreading  and 
becoming  unmanageable.  We  would  suggest  to  the  reader 
to  use  a gelatine  size  in  place  of  Chinese  White,  made  in 
the  proportions  of  one  ounce  of  gelatine  to  a pint  of  water, 


228 


SELF-INSTR UCTI VE  LESSONS. 


viz. : first  soak  the  gelatine  in  cold  water  for  half  an  hour, 
then  pour  off  the  cold  water  and  add  hot,  stirring  till  all  is 
dissolved,  and  apply  before  it  is  cool.  This  will  give  a 
foundation  which  can  be  painted  upon  freely  without 
danger  of  mixing  with  the  colors.  It  can  also  be  painted 
on  both  sides,  and  has  the  advantage  of  being  trans- 
parent. 

Whichever  medium  is  used,  Chinese  White  or  gelatine, 
it  must  not  be  allowed  to  dry  while  stretched  to  the  board, 
as  it  would  stick.  If  a large  piece  of  work  is  to  be  done, 
fill  in  a part  of  it ; then,  while  still  moist,  loosen  the  lower 
part  of  the  material  from  the  board,  and  hold  it  by  each 
side  up  from  the  board,  until  it  dries,  keeping  it  stretched 
between  the  two  hands,  so  that  it  will  not  cockle  when 
dry.  It  may  then  be  fastened  again  to  the  board,  and  the 
work  continued  until  completed.  When  the  foundation 
is  ail  laid  and  dry,  it  may  be  painted  as  directed.  Color 
may  be  dropped  into  the  gelatine  size  before  dry,  with  the 
same  effect  as  in  Chinese  White.  The  reader  will  of 
course  understand  that  there  is  a great  difference  in  mus- 
lin. It  can  be  found  sheer  (without  sizing),  and  also  so 
highly  finished  or  sized  as  to  require  no  preparation  or 
foundation  for  painting.  Our  remarks  apply  to  material 
unsized. 

The  difficulty  in  painting  on  such  fabrics  is  to  keep 
within  the  outlines  and  to  lay  the  color  smoothly.  Use 
but  little  color  or  size  in  the  brush  when  applying  them  to 
the  material,  and  practise  first  on  some  waste  material  like 
that  it  is  intended  to  paint  on. 


OIL  AND  WATER-COLOR  PAINTING. 


229 


PAINTING  ON  SATIN-FACED  JEAN  OR 
SATEEN  WITH  WATER-COLORS. 

Satin-faced  jean  or  drilling  is  a thick  cotton  cloth  with 
one  side  satin  faced.  Sateen  is  similar,  but  perhaps  not 
so  thick.  The  difficulty  in  painting  on  them  is  to  keep 
the  colors  within  the  outlines  of  the  design  to  be  painted. 
There  is  so  little  sizing  in  the  material  that  the  colors 
will  run  and  spread  if  applied  directly.  If  a sizing  is  first 
applied,  it  will  be  just  as  difficult  to  keep  it  within  the 
outlines  ; and  if  that  is  done  successfully  the  trouble  will 
not  be  removed,  because  it  will  be  necessary  to  just  cover 
the  sizing  which  has  been  applied  with  color;  and  in 
doing  this  there  is  danger  of  the  colors  running  if  it  over- 
laps the  sizing  ever  so  little.  This  we  learned  by  actual 
experience,  and,  carrying  our  experiments  still  further,  we 
found  that  a sizing  made  with  gelatine  and  gum  arabic 
could  be  applied  without  spreading;  but  when  the  color 
was  laid  over  it,  it  (the  color)  would  run  as  before.  We 
then  mixed  the  size  with  the  color,  using  it  (the  size)  in 
place  of  water,  and  found  no  further  trouble  from  running 
or  spreading.  Tins  size  can  be  made  as  follows : Dissolve 
one  teaspoon  level  full  of  powdered  gum  arabic  with  four 
teaspoonfuls  of  hot  water,  and  add  to  an  equal  quantity 
of  gelatine  size  prepared  as  previously  directed.  Use  hot 
in  place  of  cold  water,  and  apply  as  in  water-color  paint- 
ing. Another  advantage  in  using  this  sizing  is,  that,  as 
gelatine  is  not  soluble  in  cold  water,  a few  drops  will  not 


230 


SELF-INS TR  UC  TI VE  LESSONS. 


mar  the  design  if  spilled  upon  it,  and  allowed  to  dry  with- 
out being  disturbed. 

Muslin,  for  which  directions  have  been  already  given, 
may  be  painted  in  the  same  way. 

PAINTING  ON  LACE  WITH  WATER-COLORS. 

The  same  size,  mixed  with  color,  can  be  used  for  paint- 
ing on  lace,  instead  of  gelatine  and  Chinese  White. 


There  is  a new  material  called  silk  bolting-cloth,  used 
in  the  finest  processes  of  flour  sifting,  which  is  very  lovely 
in  appearance,  and,  being  firm  as  well  as  fine  in  texture,  is 
admirable  to  work  or  paint  on.  It  is  thicker  than  Swiss 
muslin,  but  thin  enough  to  give  the  same  half-transparent 
effect. 

For  all  such  thin  materials,  painting  has  the  great  ad- 
vantage over  embroidery  that  both  sides  are  presentable, 
although  the  one  on  which  the  paints  are  applied  is,  of 
course,  the  brighter  and  more  finished.  The  back  of  a 
piece  of  embroidery,  however  neatly  managed,  is  better 
out  of  sight,  and,  therefore,  in  general,  requires  to  be  lined. 
No  such  disadvantage  attends  painting ; and  very  pretty 

231 


232 


SELF-INS TR UCTI VE  LESSONS. 


fans,  hand-screens,  transparencies,  chair-backs  (or  tidies), 
aprons,  and  even  dresses,  may  be  thus  ornamented.  The 
work  is  done  in  water-color,  and  is  not  difficult,  requiring 
cai’e  and  accuracy,  and,  above  all,  neatness  in  execution. 

The  muslin  should  be  stretched  in  an  open  frame. 
Having  previously  put  your  design  upon  cartridge  paper, 
lay  the  frame  down  upon  it,  and  carefully  trace  it  on  the 
muslin  with  a No.  3 lead  pencil. 

There  are  now  two  methods  of  working. 

1.  Paint  over  all  the  design  with  Chinese  white,  mixed 
with  a few  drops  of  Blending  Fluid  or  Resisting  Medium. 
The  laying  on  of  the  white,  as  in  all  other  cases,  is  the  great 
difficulty,  especially  in  muslin  painting.  If  it  is  too  liquid, 
it  will  run  over  the  outline,  and  spoil  the  work;  if  it  is  too 
dry,  every  brush-mark  will  show  ; if  it  is  lumpy  and  full  of 
spots,  the  rest  of  the  painting  will  look  coarse;  and,  as  no 
mistakes  made  in  laying  on  the  ground  color  can  be 
altered  by  the  succeeding  work,  it  is  extremely  important 
that  it  should  be  done  well.  Each  petal  or  leaf  should 
look  as  if  cut  out  of  one  smooth  piece  of  shiny  paper,  and 
stuck  upon  the  material. 

As  the  prevailing  chalky  tint  of  Chinese  white  will 
always  obtrude  itself,  it  is  better  to  change  it,  even  in  this 
under-tone,  with  the  local  color  of  each  object  in  the  de- 
sign. To  avoid  a number  of  separate  spots  of  prepared 
white  on  the  palette,  you  can  drop. this  local  tint  into  the 
white  already  on  the  design  with  a brush  tilled  with  trans- 
parent color.  But  this  is  delicate  work,  especially  on 
muslin ; and  the  beginner  may  cover  the  whole  design 
with  white,  reserving  the  tinting  for  the  second  process. 


OIL  AND  WATER-COLOR  PAINTING. 


233 


When  the  white  is  dry,  paint  over  it  with  ordinary 
water  colors,  keeping  their  natural  tones  as  far  as  possible, 
which  are  always  somewhat  degraded  by  the  mixture  of 
white  ; therefore,  touch  the  under-tone  lightly  and  quickly, 
not  to  stir  it  up  with  the  point  of  the  brush.  Finally,  the 
highest  lights  may  be  added  in  sharp,  clear  touches  of 
white,  mixed  with  the  proper  local  tint. 

Like  all  work  done  on  a prepared  surface,  anything  like 
retouching  or  stippling  must  be  avoided,  and  broad 
effects  and  good  drawing  relied  upon. 

Hand-screens  may  be  painted  on  both  sides;  in  this 
case,  the  open  frame  must  be  turned  round,  the  Chinese 
white  laid  on  the  back  of  the  design,  great  care  being 
taken  to  follow  the  same  lines  as  on  the  front,  and  then 
painted  as  above. 

2.  With  Tilton’s  liquid  colors  you  may  work  upon  all 
semi-transparent  materials  by  scrubbing  in  the  color  with 
a scrub-brush,  and  afterwards  delicately  defining  the  out- 
line with  a pointed  sable  brush,  either  with  the  same  color 
as  the  petals  and  leaves,  or  with  some  uniform  dark  color. 
Or,  calling  in  the  aid  of  embroidery,  you  may  define  the 
edges  and  markings  with  outline  stitch  in  embroidery 
silk. 


II.  PAINTING  ON  JEAN  IN  WATER-COLORS. 

This  is  a kind  of  work  very  pretty  for  decorating  the 
small  d’oyleys  placed  under  finger  bowls.  It  is  done  with 
moist  or  tube  water-colors,  or  with  body  colors  and  Blend- 
ing Fluid. 

Use  smooth,  satin-faced  jean,  and  cut  it  out  so  that  no 


234 


SELF-INSTRUCTIVE  LESSONS. 


crease  may  appear.  The  form  may  be  round  or  square, 
with  ravelled  fringe.  The  same  process  may  he  used  on 
little  napkins,  which  come  all  made  for  the  purpose ; but 
jean  is  firmer  in  texture  than  ordinary  damask,  and  so 
better  to  paint  on. 

Draw  in  the  outline  of  the  subject  faintly  with  a lead 
pencil,  from  your  design  previously  prepared  on  paper. 
Fill  in  the  outlines  with  Chinese  white,  dropping  in  the 
lightest  tint  of  each  part  of  the  design.  When  this  first 
coat  is  dry,  paint  the  natural  colors  upon  it.  It  is,  per- 
haps, best  to  put  in  all  the  shadows,  in  good  forms,  with  a 
neutral  tint,  influenced  in  every  case  by  the  local  color ; 
this  can  be  overlaid  with  transparent  color,  and  finished 
with  sharp,  clear  markings. 


in.  LACE. 

This  work  is  an  imitation  of  the  old  Creton  laces, 
which  were  made  with  colored  threads  arranged  as  pat- 
terns upon  a black  or  white  ground.  It  is  done  with 
water-colors,  and  used  for  furniture  lace,  or  as  trimmings 
to  dress  fabrics. 

Thin  portieres,  which  in  small  rooms  are  more  agree- 
able than  heavy  ones,  even  in  winter,  on  account  of  their 
allowing  free  passage  of  air  from  one  room  to  another, 
may  be  made  effective  with  this  work  upon  a set  of  cheap 
white  lace  curtains  with  bold  designs. 

The  colors  are  made  fast  by  using  Tilton’s  Resisting 
Medium,  and,  though  they  will  not  stand  washing,  will 
look  well  a long  time. 

Stretch  the  lace,  and  pin  it  down  securely  to  a drawing- 


OIL  AND  WATER-COLOR  PAINTING. 


235 


board,  a part  at  a time.  The  design  will  be  the  pattern 
woven  into  the  lace,  every  part  of  which  must  be  first  wet 
with  gelatine,  and,  when  that  is  dry,  washed  with  Chinese 
white  mixed  with  the  Resisting  Medium.  Thus  prepared, 
you  can  paint  the  pattern  with  bright  colors,  tinting  the 
leading  lines  of  the  design  with  brilliant  colors,  re- 
lieved by  the  secondary  tint  applied  to  the  other  part  of 
it.  The  more  broken  up  and  diversified  the  coloring,  the 
better  the  effect.  Put  on  the  colors  flat,  without  any 
grading,  and  so  thick  as  to  be  thoroughly  absorbed  into 
the  material.  The  pattern  on  the  lace  should  be  wholly 
covered  with  colors,  leaving  the  connecting  threads 
white. 

Instead  of  water-colors,  you  may  use  Lustra  paints ; 
and  by  a judicious  combination  of  the  lustrous  and  the 
dull  ones  you  will  produce  a rich  oriental  effect. 

IV.  RICE  PAPER. 

The  Chinese  paint  deliciously  on  rice  paper  ; but,  as  it  is 
not  too  much  to  say  that  we  can  never  hope  to  attain  their 
dainty  touch  and  execution,  and  as  the  results  are  not 
very  useful  in  decoration,  because  rice  paper  is  so  fragile, 
it  is  hardly  worth  while  to  give  it  much  space  in  this 
book. 

As  the  paper  is  transparent,  draw  the  outlines  of  the 
design,  either  flowers,  birds,  or  figures,  upon  common 
paper,  ink  this  over,  and  put  it  beneath  the  rice  paper. 
The  outlines  will  show  through.  Fasten  the  rice  paper 
down  upon  it  with  drawing  pins,  and  paint  without  any 
outline  on  the  rice  paper,  which  will  not  bear  pencil 


236 


SELF-INSTRUCTIVE  LESSONS. 


marks.  Put  on  opaque  colors,  the  brightest  you  can  find, 
in  clear,  bright  tones,  getting  your  effects  at  once,  as  little 
can  be  done  by  retouching.  Over  the  first  coat,  when  it 
is  dry,  markings  can  be  made,  and  stamens  and  fine 
touches  added,  with  bright  body  color  or  a little  gold. 


PAINTING  ON  GOLD  PAPER 

WITH  WATER-COLORS,  AND  ON  GOLD  CANVAS 
WITH  OIL-COLORS. 


MATERIALS. 

Water-Colobs  : Brushes  and  Gold  Paper. 
Oil-Coloks  : Brushes  and  Gold  Canvas. 


238 


PAINTING  GOLD  PAPER  IN  WATER-COLORS. 

What  is  known  as  “craped  gold  paper”  is  the  best 
when  large  surfaces  are  to  be  painted,  like  friezes  or  dado 
panels  ; and  this  can  be  painted  upon  in  body  water-colors. 
The  craped  or  crinkled  surface  is  prettier  and  easier  to 
manage  than  smooth  gold  paper.  It  is  about  twenty-one 
inches  wide,  and  is  sold  by  the  piece  for  wall-paper.  Any 
colors  may  be  used,  with  due  taste  and  discretion,  but  a 
good  effect  is  produced  by  using  only  the  shades  from 
light  yellow  to  red-gold ; the  background  being  supplied 
by  the  gold  paper. 

Cut  out  the  gold  paper  into  just  the  shape  of  the  space 
you  mean  to  fill,  and,  having  transferred  some  design  upon 
it,  well  pinned  down  upon  a drawing  board,  lay  Chinese 
white,  mixed  with  Blending  Fluid,  over  the  whole  surface 

239 


240 


SELF-IN STR UCTI VE  LESSONS. 


to  be  painted.  Secure  the  edges  first  of  each  form,  and  fill 
in  with  the  white.  When  this  is  dry,  the  different  values 
of  yellows  can  be  applied  over  it.  After  this  is  done,  make 
a fine,  sharp  line  of  sepia  carefully  round  every  edge  of 
the  design.  This  may  be  done  with  a broad,  blunt  pen, 
the  color  diluted  just  enough  to  flow,  or  with  a well-pointed 
sable  brush.  If  the  hand  is  steady,  and  the  eye  accurate, 
these  outlines  will  be  good  with  either  instrument;  with- 
out a firm  hand  and  watchful  eye,  they  will  look  ill,  no 
matter  what  implement  is  used. 

This  painting  can  be  pasted  upon  the  wall  like  any  wall- 
paper. A stencil-plate  with  some  formal  design  of  bor- 
dering can  be  applied  to  the  places  where  it  meets  the 
wall,  to  break  the  hard  line  at  the  edges  of  the  gold  paper 
and  assimilate  it  with  the  rest  of  the  wall. 

This  material,  also,  is  very  suitable  for  Lustra  painting, 
as  described  in  Chapter  XVI. 

GOLD  CANVAS  IN  OILS. 

Gold  canvas  is  made  of  the  ordinary  picture  canvas, 
which,  instead  of  being  coated  with  paint,  is  covered  over 
with  sheets  of  gold  leaf.  The  best  quality  is  gilded  twice, 
and  is  therefore  expensive,  but  it  is  very  durable,  and 
resists  exposure  to  the  air.  Its  surface  is  slightly  rough, 
and  makes  a good  background  for  broad  flower  painting, 
and  still  better  for  bold,  well-drawn  figures. 

After  transferring  the  design  to  the  canvas,  paint  with 
ordinary  oil  paints  and  sable  brushes,  as  on  common  can- 
vas, but  without  attempting  to  go  over  the  surface  a sec- 
ond time,  or  to  work  up  the  design.  Put  the  tints  on  at 


OIL  AND  WATER-COLOR  PAINTING. 


241 


once,  and  soften  their  edges  while  still  wet,  so  as  not  to 
clog  the  canvas  with  too  much  color.  Leave  the  gold  as 
background. 

Cabinets,  corner  cupboards,  and  mantel-pieces  can  have 
paintings  upon  gold  canvas  inserted  into  their  panels,  and 
the  material  is  handsome  for  large  folding  screens. 


PAINTING  TRANSPARENCIES 

AND 

LANTERNS. 


Materials. 


Strong  Bleached  Cotton  Cloth. 
A Wooden  Frame. 

Gelatine  Size. 

Oil  Colors. 

Ivory  Black. 

Flake  White. 

Permanent  Blue. 

Raw  Sienna. 


Crimson  Lake. 
Palette-Knife. 

Bristle  Brushes. 

India  Ink. 

Sponges,  Coarse  and  Fine. 
Pumicestone. 

Old  Rags. 

Quill  or  Stub  Pen. 


244 


CHAPTER  XXI. 

TRANSPARENCIES  AND  LANTERNS. 

Either  oils  or  water-colors  can  be  used  in  this  kind  of 
painting,  which  is  useful  for  illuminations  at  public  rejoic- 
ings, and  also  for  hall  lamps  and  piazza  lanterns. 

The  effect  of  water-color  painting  is  poor  when  com- 
pared with  oil  or  varnish  colors  in  this  kind  of  work,  which 
is  to  be  seen  by  the  light  of  a lamp  shining  from  behind. 
If  oil  colors  are  not  at  hand,  however,  and  it  is  desirable 
to  get  up  a patriotic  illumination  in  a hurry,  water-colors, 
mixed  with  size  — the  same  as  used  in  preparing  the  cot- 

245 


246 


SELF-IN STRUCT1 VE  LESSONS. 


ton  cloth  to  receive  the  paint  — may  be  used.  Chinese 
white  should  be  put  upon  the  parts  of  the  design  in  half- 
light  or  shadow,  leaving  the  high  lights  to  shine  with  bril- 
liancy and  the  full  power  of  their  local  tints.  By  thus 
making  opaque  surroundings,  which  will  block  out  sharply 
the  shapes  of  the  light  shining  through  the  transparent 
places,  a bright  effect  is  given,  but  judgment  is  required 
not  to  overdo  such  opaque  parts  of  the  design,  and  thus 
turn  the  whole  into  a picture  pretty  by  daylight,  but  im- 
pervious to  the  candle-light  from  within. 

Otherwise,  the  directions  for  painting  transparencies  in 
water-colors  are  the  same  as  with  oils.  For  the  latter  the 
materials  required  are  strong,  bleached,  cotton  cloth, 
wooden  frame,  gelatine  size,  gilders’  size,  oil  colors  in  tubes, 
bristle  brushes,  sponges  coarse  and  fine. 

The  cotton  cloth  should  be  line  and  good,  but  strong, 
stretched  in  a wooden  frame  made  the  size  required  for  the 
transparency.  The  lantern  should  be  constructed  of  four 
or  more  slight  wooden  frames,  like  those  of  a child’s  slate, 
fastened  together  with  wire  eyes.  Any  carpenter  can 
manage  this;  the  fourth  side  should  join  by  a little  hook, 
that  the  lantern  may  lie  flat  in  the  daytime,  as  desired. 
It  is  best  to  paint  the  sides  separately,  and  have  them 
joined  together  afterwards.  To  imitate  the  bizarre  forms 
of  Chinese  and  Japanese  lanterns,  the  maker  must  exercise 
her  own  ingenuity. 

The  cotton  cloth  must  be  tightly  stretched,  and  sized 
with  gelatine  made  by  soaking  one  ounce  of  gelatine,  first, 
for  ten  minutes  in  cold  water.  Then  pour  off  the  cold 
water,  and  add  one  pint  of  boiling  water,  and  stir  till  all  is 


OIL  AND  WATER-COLOR  PAINTING. 


247 


dissolved;  use  hot,  — to  make  it  capable  of  receiving  the 
oil  paint.  Two  coats  of  size  are  enough,  if  upon  trial  the 
paint  lies  upon  the  surface  of  the  cloth  and  does  not  sink 
in  ; but  if  it  should,  add  a third  coat  and  let  it  dry.  Rough 
places  in  the  sizing  may  be  rubbed  down  with  pumice-stone. 
It  is  necessary  that  the  cloth  should  be  tightly  attached  to 
its  frame.  For  a large  transparency,  tacks  are  best  at  the 
back ; for  a lantern,  the  cloth  should  be  firmly  glued  to 
the  frames  and  left  to  dry  before  painting; 

Draw  tire  design  (always  previously  made  with  care  and 
accuracy  on  cartridge  paper)  directly  upon  the  cloth  with 
Indian  ink  in  a quill  pen,  or  a soft  “ stub  ” pen.  The  col- 
ors and  designs  used  in  slides  for  magic  lanterns  are 
really  the  best  guide  for  imitation  in  large  transparencies, 
for  nothing  more  detailed  will  have  any  good  effect. 
Squeeze  each  color  in  a saucer,  and  mix  it  with  the  me- 
dium described  at  the  end  of  the  chapter,  rubbing  it  well 
in  with  a palette  knife.  Use  the  brightest  colors,  and 
only  transparent  ones,  and  attempt  only  the  simplest  com- 
binations. The  three  primitive  colors  — yellow,  red  and 
blue  — and  the  secondaries  — green,  purple  and  orange  — are 
best ; and  do  not  fear  to  have  the  outlines  of  your  design 
sharply  defined  with  black.  Fill  one  of  your  little  sponges 
with  color  and  dab  it  on  to  the  cloth  as  thick  as  is  consist- 
ent with  having  some  light  shine  through.  You  will  find 
it  quite  amusing  to  work  in  this  way  at  night,  with  gas  or 
a candle  behind.  Remember  that  in  this  case  your  values 
are  gained  by  more  or  less  light  shining  through  the  col- 
ors. Thus  the  highest  light  or  value  will  be  the  cloth  left 
Avhite,  or  slightly  tinted  with  bright  light  shining  through 


248 


SELF-INS TR UCTIVE  LESSONS. 


it.  The  darkest  value  may  be  black,  caused  by  a coat  of 
paint  so  thick  that  no  light  shines  through.  You  can 
make  your  picture  effective  by  only  employing  these  two 
values,  and  one  between,  where  the  paint  is  put  on  just 
thick  enough  to  show  its  local  color  by  the  light  shining 
through.  When  a tint  is  nearly  dry,  you  can  take  off 
some  of  it  with  the  palette  knife,  to  make  lights  and  half- 
lights  in  the  shape  required.  For  small  spaces  apply  the 
paint  with  little  dabbers  made  of  a rolled-up  rag,  and 
the  faces  of  figures  can  be  done  with  round  bristle  brushes, 
relying  for  detail  upon  the  pen  outline  with  India  ink. 
You  are  not  trying  to  imitate  nature  direct,  but  stained 
glass,  which  you  will  remember  is  set  in  leaden  casements 
round  each  separate  piece  ; so  you  need  not  fear  the  black 
outline,  for  the  more  conspicuous  it  is,  the  better  your 
effect. 

Landscapes  look  well,  if  broadly  executed.  An  effect 
of  distance  can  be  procured  by  painting  sky,  mountains 
and  remote  objects  on  one  piece  of  cotton,  and  figures  and 
prominent  foreground  objects  upon  another  laid  over  it. 

In  preparing  the  cloth  to  receive  paint,  the  same  sizing, 
viz.,  gelatine,  may  be  used  for  preparing  it  to  receive  either 
water  or  oil  colors. 

The  medium  used  for  mixing  with  water  colors  may  be 
the  same  gelatine  size  used  in  preparing  the  cloth,  while 
for  oil  colors  it  will  depend  upon  the  skill  of  the  artist. 
A professional  artist,  who  fully  understands  the  effects 
of  colors  and  how  to  apply  them,  may  use  a medium 
composed  of  Japan,  varnish,  and  a little  turpentine — this 
is  what  is  called  a quick  dryer.  It  dries  so  quickly  that  no 


OIL  AND  WATER-COLOR  PAINTING. 


249 


preparation  is  needed  for  the  cloth,  whereas  oil,  the  base  of 
all  size  mediums,  used  clear,  is  the  slowest  dryer.  As  the 
greater  number  of  our  readers  will  be  amateurs,  I should 
advise  them  not  to  attempt  this  style  of  painting  until 
they  have  acquired  some  knowledge  of  colors,  and  the 
method  of  applying  them,  and  then  to  begin  with  a slow 
drying  medium,  namely,  drying  oil  mixed  with  a little 
Japan  or  varnish. 


PAINTING  ON  WOOD  AND  LEATHER 

WITH 

OIL,  WATER,  AND  LUSTRA  COLORS. 


MATERIALS. 

Prepared  Wood  and  Leather.  Brushes. 
Colors.  Glue. 

Turpentine.  Gilder’s  Size. 


252 


PAINTING  ON  WOOD. 


I.  OILS. 

Painting  upon  polished  wood,  either  plain  or  ebon- 
ized,  or  upon  a gilded  surface,  is  an  effective  method  of 
decorating.  There  is  no  difficulty  about  the  back- 
ground, as  it  is  furnished  by  the  nature  of  the  material. 
It  is  best  when  done  flat,  with  a sharply  defined  outline, 
marked  out  with  a fine  line  of  brown  paint.  It  is  hard  to 
transfer  the  design  to  wood ; therefore,  you  had  better 

253 


254 


SELF-INS TR UCTI VE  LESSONS. 


copy  it  carefully,  taking  all  precautions  to  put  it  in  the 
right  place  on  the  surface  you  wish  to  decorate.  Use  tube 
color  mixed  with  turpentine,  the  quantity  of  which  yon 
must  learn  to  regulate  by  practice.  The  turpentine  takes 
away  the  shiny  effect  of  oil,  and  gives  a dead,  Hat  appear- 
ance, which  is  the  result  intended  in  this  sort  of  work. 
Paint  all  the  broad  surfaces  with  a plain  tint  of  the  right 
color ; when  dry,  lay  on  shadow  tints  and  a few  high 
lights,  but  do  not  attempt  to  give  relief  and  roundness,  as 
it  does  not  belong  to  this  style  of  decoration.  Mark  out 
the  details  and  chief  outlines  with  a fine  line  of  brown 
paint.  You  can,  of  course,  paint  upon  this  surface  with 
oil  colors  as  upon  canvas,  and  omit  the  hard  outline. 
This,  however,  is  not  the  fashion  at  present.  Good  easel 
painting  demands  a painted  background,  and  is  simply 
wasted  in  wood  decoration. 

The  background  for  wood  painting  may  be  an  already 
painted  surface,  like  the  panels  of  doors  within  a room,  or 
it  may  be  prepared  on  purpose.  Any  ordinary  house 
painter  will  do  this  better  than  an  amateur,  and  you  had 
best  admit  this,  and  let  him  do  it.  To  decorate  a room, 
flowers  may  be  painted  in  a realistic  way,  with  all  the  care 
and  judgment  you  have  at  your  disposition ; or  landscapes 
may  be  attempted,  with  subjects  well  suited  to  the  form 
of  the  panel  which  is  to  enclose  them. 

For  long  door-panels,  an  effective  subject  is  some  long, 
straggling  plant  growing  up  from  the  bottom  panel,  appar- 
ently behind  the  cross-work  wood,  reappearing  above  it, 
and  so  on  to  the  top  of  the  door.  Remember  that,  in  a 
room  always  lived  in,  these  decorations  are  to  be  always 


OIL  AND  WATER-COLOR  PAINTING. 


255 


in  sight ; while  the  merits  of  the  work  continue  to  charm 
indefinitely,  the  faults  become  more  and  more  evident,  as 
time  goes  on,  and  more  wearisome  to  the  unhappy  family 
which  must  contemplate  them.  A bad  water-color  may 
be  taken  down  and  put  in  the  fire  whenever  it  grows 
insupportable ; but  a panel  of  a door  must  remain  year 
after  year.  Therefore,  my  advice  about  painting  a panel 
in  your  own  drawing-room  would  be,  Don't , unless  you  are 
sure  you  will  do  it  delightfully. 

II.  PAINTING  IN  WATER-COLORS 

can  be  done  with  body  color,  or  by  applying  a lajmr  of 
Chinese  white  diluted  with  Tilton’s  Blending  Fluid,  just 
as  in  painting  on  silk  and  velvet.  The  same  flat  method 
as  advised  above  for  oils,  with  a decided,  firm  outline  of 
brown  or  some  dark  color,  is  the  best.  This  may  be  highly 
polished  at  a carriage-maker’s,  to  give  a brilliant,  inlaid 
effect. 

The  Lustra  paints  described  in  Chapter  XVI.  are  very 
effective  on  wood;  and  the  process  differs  in  no  way  from 
that  already  given. 

III.  LEATHER  PAINTED  IN  OILS. 

Stamped  and  gilded  leather  was  a favorite  material  for 
hangings  in  the  fifteenth  century,  and  later.  At  the 
present  time,  painting  upon  leather  has  been  revived  for 
panel  and  cabinet  spaces,  and  the  effect  of  the  raised  and 
painted  design  upon  a gold  or  silver  background  is  very 
good. 

The  leather  used  is  morocco.  It  is  sold  in  skins,  which 


256 


SELF-INSTRUCTIVE  LESSONS. 


measure  from  twenty-one  to  twenty-eight  inches  in  width, 
and  somewhat  more  in  length.  The  skin  must  be  well 
moistened,  and  put  under  a stamping-machine  with  a de- 
sign of  figures,  game,  fruit,  or  some  conventional  subject. 
The  leather  already  stamped  and  gilded,  however,  can  be 
bought  at  an  upholsterer’s,  which  saves  the  trouble  of 
both. 

If  you  gild  it  yourself,  size  the  background  with  gilder’s 
size,  and  press  the  gold-leaf  down  on  it  carefully.  Leave 
the  pattern  untouched ; and  when  the  background  is  dry, 
paint  the  raised  parts  in  oil  colors.  The  grain  of  the 
leather  makes  a good  surface.  Use  sable  brushes,  and 
soften  the  paint  into  the  leather,  putting  on  as  little  paint 
as  possible,  and  allowing  the  local  color  of  the  leather  to 
serve  as  one  of  your  tints.  If  you  have  seen  a nice  piece 
of  painted  leather  work,  you  can  easily  imitate  it,  observ- 
ing that  the  effect  is  to  tint  the  leather,  not  to  overlay  it 
with  masses  of  paint.  Put  on  only  one  coating  of  color, 
which  is  subservient  to  the  leather  and  gilding.  Dark 
colors  and  rich  reds,  with  only  very  moderate  high  lights, 
are  allowable. 

When  the  leather  is  painted,  it  must  be  glued  into  its 
position  with  strong,  hot  glue.  A slight  wood  moulding 
round  its  edges,  fitted  to  the  space  it  is  to  occupy,  will 
finish  the  effect. 

Lustra  paints  are  very  pretty  for  leather,  as  the  metallic 
brilliancy  they  possess  is  well  brought  out  by  the  material. 


STENCILLING. 


MATERIALS. 


Stout  Brown  Wrapping  or  Cartridge  Paper. 
Colors. 

Stencil  or  Scrub  Brushes. 

A Square  of  Glass. 

A Sharp  Knife. 


CHAPTER  XXIII. 


STENCILLING. 

A kind  of  wall-paper  called  “ Ingrain,”  also  common 
brown  wrapping-paper,  “butchers’  paper,”  and  the  dark 
blue  paper  used  for  wrapping  cones  of  loaf  sugar,  are  all 
capable  of  decoration.  The  back  of  the  cheapest  wall- 
papers is  also  of  a good  texture  for  amateur  work.  The 
natural  shades  of  these  papers  are  retained  for  back- 
grounds, and  they  can  be  combined  to  paper  a room  in 
such  a manner  as  to  break  up  the  wall  into  dado,  middle, 


260 


SELF-INSTRUCTIVE  LESSONS. 


or  frieze  of  contrasting  or  harmonizing  shades,  without 
any  more  expensive  material. 

For  this  object  the  coarser  and  rougher  the  paper  the 
better  the  effect.  Arabesque  or  geometrical  designs  are 
the  most  effective,  and  to  make  them  you  must  prepare 
your  own  stencil-plate,  which  is  easily  done,  if  you  are 
skilful  in  the  use  of  a sharp  knife. 

Select  a good  arabesque  pattern  wherever  you  can  find 
if,  enlarge  it,  if  necessary,  to  the  proportions  suited  to  the 
wall  it  is  to  cover,  and  trace  it  on  thick  strips  of  brown 
paper,  long  enough  to  secure  the  repetition  once  of  the 
pattern,  so  that  it  may  join  accurately. 

Lay  this  marked  paper  on  a large  piece  of  glass  or  tin, 
as  the  best  thing  to  cut  upon,  and  with  a sharp  knife  cut 
away  all  the  parts  between  the  lines  of  the  design,  so  that 
only  those  parts  of  the  paper  that  form  the  background  of 
it  remain.  As  this  is  more  puzzling  than  you  think,  in 
most  arabesques,  you  will  have  been  wise  to  roughly 
cover  the  design  itself  with  a shading  of  charcoal,  and 
then  take  care  to  cut  away  only  the  paper  left  brown. 
Before  cutting  out  the  design,  see  that  no  part  of  the  pat- 
tern thus  cut  through  will  take  away  any  of  the  ground 
with  it,  as  will  happen  in  the  case  of  a circle  within  a 
circle,  for  instance.  It  is  best  to  choose  a design  that  is 
all  connected  together,  to  avoid  this  trouble  ; in  fact,  only 
such  are  well  adapted  for  stencil  work;  but  you  can,  in 
troublesome  cases,  leave  narrow  bars  of  paper  across  the 
open  parts  (technically  called  “ ties  ” or  “ tags”),  which 
must  be  painted  over  after  the  stencil-plate  is  renewed. 

Prepare  several  strips  of  the  pattern,  and  make  sure 


OIL  AND  WATER-CGLOll  PAINTING. 


261 


that  they  will  join  each  other  correctly,  for  the  continuous- 
ness of  the  design. 

Meanwhile  your  papers  have  been  applied  to  the  wall 
by  a paper-hanger,  who  may  be  yourself,  if  the  manage- 
ment of  paste-brushes  is  among  your  accomplishments. 

The  color  may  be  made  with  finely  ground  powder 
paints,  mixed  with  glue  size  and  water.  Melt  the  glue 
size  in  a small  quantity  of  hot  water  over  the  fire  ; while 
hot,  strain  it  through  a coarse  cloth,  and  then  mix  it  with 
color  until  it  is  stiff  enough  not  to  run,  taking  care  not  to 
get  it  sticky  with  too  much  glue.  One  color  is  all  that 
can  be  used  with  one  stencil-pattern.  Take  a short  stiff 
scrub  brush  in  the  right  hand,  and  hold  the  pattern  against 
the  wall  in  its  right  position  with  the  left  hand,  fill  the 
brush  with  paint  and  carefully  rub  it  over  the  brown 
paper  and  through  the  openings  in  the  pattern  upon  the 
wall,  with  a straight  firm  stroke,  without  streaks  or  lines. 
The  pattern  must  be  held  very  tight,  or  the  paint  will  run 
under  it  and  make  an  untidy  jagged  edge  instead  of  a 
good  line.  This  is  why  each  strip  of  the  pattern  should 
be  short ; you  cannot  control  a large  one  with  the  hand, 
and  should  you  fasten  it  with  tacks  or  pins,  the  holes 
made  by  them  would  show  on  the  wall. 

Finish  an  arabesque  border  with  a straight  line  also  cut 
out  of  brown  paper  and  stencilled  on.  This  may  be  an- 
other color,  and  thus  give  variety. 

I advise  using  stencil  patterns  for  all  arabesque  or  geo- 
metrical designs  of  any  size ; in  fact  small  ones  can  be 
neatly  cut  out  with  scissors.  The  practice  insures  accuracy, 
and  if  you  have  cut  out  a pattern,  once  for  all  you  have 


202 


SELF-INSTIi  UCTI VE  LESSONS. 


it,  and  are  spared  the  fatigue  of  mind  needed  each  time  in 
copying  a regular  design  to  make  sure  of  repeating  it  cor- 
rectly. 

All  the  rough  papers  above  mentioned  can  be  used  for 
screens,  Avail  panels,  and  small  objects,  painted  with  oil  col- 
ors in  tubes  the  ordinary  way.  The  rough  paper  takes  the 
color  easily.  No  painted  background  is  required,  as  the 
natural  tint  of  the  paper  supplies  one,  and  there  is  no  dan- 
ger of  the  color  spreading,  as  on  silk,  velvet,  and  other 
textiles. 

Stencilling  may  be  done  also  in  water-colors.  The  cost 
is  trifling,  as  powder  colors,  size,  and  water  are  all  that 
are  required.  They  can  be  applied  much  more  easily  and 
quickly  than  oils,  but  are  not  so  durable,  and  so  should 
be  used  only  in  places  not  likely  to  be  rubbed  against, 
and  dampness  is  fatal. 

Stout  cartridge  paper  is  best  for  making  the  patterns  to 
be  used  in  water  color.  The  powder  colors,  as  in  the  pre- 
vious process,  are  the  common  ones  produced  in  an  ordi- 
nary painter’s  shop,  well  and  finely  ground.  They  must 
be  mixed  with  Tilton’s  Blending  Fluid.  The  various  shades 
of  color  are  made  by  adding  Chinese  white  to  the  different 
tints  to  make  them  light,  with  black  to  deepen  them.  The 
four  colors  chiefly  used  should  be  indigo,  Indian  red,  ochre, 
and  white.  They  may  be  deepened  and  enriched  to  produce 
various  shades.  Thus,  cobalt  blue  is  made  light  with  white, 
and  dark  with  indigo ; Indian  red  is  made  light  with  Vermil- 
lion, and  dark  with  black.  The  complementary  colors  can 
be  used  to  their  full  effect  in  this  style  of  decoration.  The 
simplest  combinations  are  the  best. 


WHAT  TO  DECORATE. 


•* 


CHAPTER  XXIY. 

WHAT  TO  DECORATE. 

Haying  now  described  in  general  the  method  of  work- 
ing with  transparent  water-color,  body  color,  and  oil 
paints,  I will  give  this  chapter  to  some  suggestions  of 
what  may  be  best  done  by  the  different  methods,  and 
which  medium  is  the  best  for  each  bit  of  decoration. 

And  first,  let  me  say,  the  greater  the  skill  the  less  need 
of  great  usefulness  in  the  object  it  is  expended  upon. 

“ A thing  of  beauty  is  a joy  forever,” 
and  a slight  design  thrown  by  the  hand  of  genius  on  a 
scrap  of  paper  will  be  treasured  after  all  the  panels  and 
fire-screens  of  inferior  workmanship  have  gone  up  chim- 
ney. But  if  you  paint  only  pretty  well,  you  may  compass 
a wall-pocket  or  an  umbrella  stand,  which  your  friend  will 
prize  provided  “she  wants  one  dreadfully.”  Try  not  to 
give  her  a “ dreadful  ” object,  however,  because  she  wants 
one  dreadfully. 


265 


266 


SELF-INS  TR  UCTI VE  LESSONS. 


All  the  things  executed  on  drawing-paper  or  cardboard, 
in  simple  moist  colors,  are  pretty  if  they  are  executed  pret- 
tily. Christmas-cards,  panels,  wall-pockets,  hand-screens, 
all  these  things  — their  name  is  legion  — will  hold  their 
own,  provided  they  are  executed  with  taste.  Each  year 
brings  up  some  new  whimsical  application  of  design  to 
trifling  uses. 

A panel,  or  a large  Christmas-card  should  be  painted  in 
a realistic  manner,  as  well  as  you  know  how.  A little 
landscape  prettily  executed  on  a piece  of  drawing  paper 
about  5+7  inches,  and  mounted  on  tinted  card,  leaving  a 
narrow  margin,  with  perhaps  a pretty  little  bow  of  taste, 
tied  with  taste,  is  a pretty  present.  The  designs  for  these 
need  not  be  original,  but  they  gain  a certain  sentiment  if 
transferred  from  your  own  summer  sketch-book,  which 
may  compensate  for  a lack  of  technical  skill  in  their  exe- 
cution. 

A little  device,  not  yet  too  common,  is  that  of  a close 
bunch  of  flowers,  nicely  painted  in  a realistic  manner  on 
thick  drawing-paper.  For  such  things  drawing-paper 
with  the  smoother  surface  is  best.  A design  should  be 
chosen  which  is  compact,  without  any  tendrils  or  project- 
ing leaves,  and  having  a positive  bunch  of  stems  below  the 
flowers ; and  the  colors  should  be  massed  well,  that  is,  the 
flowers  crowded  together,  not  broken  up,  so  as  to  look 
spotty  with  leaves  interspersed,  with  some  leaves  below 
the  flowers.  It  should  represent  such  a little  bunch  of 
flowers  as  one  would  like  to  hold  in  the  hand,  like  mignon- 
ette, sweet  violets,  or  our  spring  Mayflower.  After  the 
bunch  is  painted,  cut  it  all  out  with  sharp  scissors,  follow- 


OIL  AND  WATER-COLOR  PAINTING , 


267 


OIL  AND  WATER-COLOR  PAINTING. 


269 


ing  all  the  indentations  of  the  design;  it  is  in  doing  this 
that  you  will  be  glad  to  find  the  outline  simple  and  re- 
quiring not  too  delicate  work  for  the  scissors.  Cut  another 
piece  of  drawing-paper  exactly  the  same  shape,  so  that 
the  two  will  fit  precisely ; tie  them  together  with  a pretty 
bow  of  narrow  ribbon,  to  harmonize  with  the  color  of  the 
flowers,  and  on  the  inner  surface  of  the  white  shape  write 
whatever  sentiment  your  heart  may  dictate,  or  your 
“Familiar  Quotations”  may  afford,  for  the  friend  to 
whom  the  little  gift  is  dedicated. 

The  custom  of  decorating  small  volumes  of  poems  with 
little  water-color  designs  is  still  pleasant,  although  its 
freshness  is  somewhat  worn  off,  since  the  time  when  a few 
amateur  artists  hit  upon  it.  You  should  choose  not  only 
a hook  of  poems  which  lend  themselves  to  small  decora- 
tions, besides  of  course  considering  their  literary  value, 
but  such  as  are  printed  on  roughish  paper  with  good  broad 
margins.  You  will  do  well  to  pass  a damp  sponge  over 
the  whole  page  upon  which  you  mean  to  put  a decoration, 
although  you  may  only  paint  upon  a small  part.  After 
the  whole  book  is  finished,  it  may  be  pressed  under  heavy 
weights  or  in  a copying-press,  to  remove  the  danger  of 
curling  leaves. 

Restrain  your  decorations  chiefly  to  the  margin,  but  you 
may  let  a tendril  or  a wandering  bee  stray  o\er  the  print, 
if  you  are  using  transparent  colors ; or  you  may  let  the 
trailing  stem  with  its  leaves  seem  to  go  under  the  stanzas 
and  emerge  between  them.  Feathers,  birds,  gaudy  insects, 
butterflies,  are  suitable  to  decorate  such  books  ; the  remot- 
est allusion  to  the  feathered  tribe  will  justify  your  intro- 


270 


SELF-INSTR UCTI VE  LESSONS. 


dueing  a peacock’s  plume,  if  you  know  how  to  do  it  well. 
A little  landscape  with  a distant  sail  will  do  for  a “tail- 
piece ” in  the  blank  space,  after  ships  have  been  even 
remotely  mentioned,  and  so  on.  For  the  sake  of  indivi- 
dual sentiment,  designs  should  he  your  own,  original,  hut 
1 would  not  have  you  “do  them  just  out  of  your  head,” 
hut  copy  them  from  designs  you  have  previously  made 
from  nature,  reduced  to  suit  the  space  now  to  be  filled. 

In  general,  things  that  may  be  shut  up  and  put  away 
from  dust  and  exposure  may  be  painted  on  paper  or  card 
with  transparent  water-colors,  on  things  intentionally 
evanescent,  which  may  be  thrown  in  the  fire  as  soon  as 
they  cease  to  look  fresh.  You  maiy  use  moist  color  upon 
white  or  pale  surfaces  of  silk,  satin,  or  velvet,  for  these 
will  live  in  drawers  where  they  will  keep  fresh  for  a long 
time;  sachets,  handkerchief  sacks,  glove-boxes,  on  pale- 
colored  surfaces,  and  all  these  articles  are  lovely  if  taste- 
fully decorated  and  well  made  up ; more  artistic,  perhaps, 
painted  than  embroidered,  although  embroidery  agrees 
better  with  the  needlework  required  in  completing  them. 

Things  which  must  be  washed  cannot  be  painted  in 
water-color,  body  color,  or  oils.  Tilton’s  Liquid  Colors  are 
strong  enough  to  stand  moderate  washing;  but  articles 
painted  with  them  will  have  a sadly  dilapidated  appear- 
ance after  washing,  if  their  outlines  are  not  enforced  with 
needlework,  in  the  same  way  that  printed  designs  of  cre- 
tonne are  sometimes  lined  round  with  chain-stitch.  The 
effect  of  this  combination  of  needle-work  and  painting  is 
very  pretty,  and  beautiful  curtains  and  bed-spreads  will 
doubtless  be  made  in  this  way,  when  the  Liquid  Colors 


OIL  AND  WATER-COLOR  PAINTING. 


271 


have  fully  established  their  reputation  for  firmness  and 
permanence.  Large  flowers  should  be  used  for  such  pur- 
poses, like  the  “ sprawling  ” designs  on  old-fashioned 
chintzes.  The  degree  of  “ finish  ” such  coloring  can  bear 
can  be  well  learned  by  studying  effective  bits  of  gay  cre- 
tonne. Observe  how  sharp  and  clear  the  outlines  of 
flower  and  leaf  are,  how  distinct  the  separate  values,  how 
Avell  shaped  every  space  of  color  and  of  high  light,  which 
is  often  white  cloth  left  uncolored,  in  such  sharp,  clear 
forms  that  it  seems  to  bring  that  part  of  the  work  nearer 
the  eye  than  the  rest.  There  is  no  weak-minded  softening 
of  values,  one  into  another,  very  little  gradation  even  of 
tints.  Perhaps  you  demand  more  blending  of  values  into 
each  other ; this  may  well  be,  but  there  should  always,  in 
your  work,  be  a moment  when  it  looks  sharp-cut  and  clear 
like  this ; afterwards  you  may  soften  the  sharpness,  but 
take  care  not  to  lose  the  clearness.  Perhaps  you  will 
object  that  you  aim  higher  in  art  than  to  copy  the  me- 
chanical merits  of  a piece  of  printed  cotton;  but  I shall 
reply  that  you  will  do  well  to  be  able  to  imitate  its  excel- 
lences, and  that  after  you  have  produced  an  original  piece 
of  work  as  effective  and  true  to  nature  as  a good  piece  of 
cretonne,  you  may  aspire  to  improve  upon  its  execution  in 
your  own  work. 

“ Splashers  ” or  “ wash-backs  ” are  very  pretty,  to  protect 
the  wall  of  a bedroom  behind  the  washstand,  done  with 
washing  colors,  upon  crash  or  something  stout  and  strong. 
A yard-wide  Turkish  towel,  cut  in  two,  will  make  two 
wash-backs.  The  fringe  and  border  hang  down  for  the 
bottom  of  the  wash-back.  The  upper  edge  must  be 


272 


SELF-INS TR  UCTI VE  LESSONS. 


hemmed.  An  effective  design  is  large,  purple  iris  thrown 
across  the  space,  laid  in  broadly  with  liquid  colors,  and 
worked  round  all  the  outlines  with  outline-stitch  harmon- 
izing in  tone  with  the  tints  of  the  paint.  As  you  can 
make  two  out  of  one  large  towel,  one  may  be  in  the  wash 
every  week. 

Many  things  of  this  sort  readily  suggest  themselves  to 
be  done  on  white  washing-material  with  liquid  colors 
confined  around  the  edges  with  needlework.  Body  color, 
or  gouache,  is  more  enduring  than  transparent  color,  for 
the  reason  that  it  is  used  on  dark  backgrounds,  which  do 
not  soil  so  easily  as  the  light  ones  required  for  transparent 
paints.  Everything  made  of  dark  silk,  satin,  or  velvet, 
may  be  best  decorated  with  body  color,  unless  it  is  to  be 
exposed  to  much  rubbing  or  roughness,  which  with  these 
materials  is  not  likely  to  be  the  case.  All  the  things 
which  are  embroidered  by  artists  of  the  needle  may  be 
as  well  decorated  in  body  color  with  the  same  set  of  de- 
signs. In  painting  it  is  usual  to  be  a little  more  realistic 
than  with  the  needle.  Embroidery  is  more  permanent 
than  body  color ; on  the  other  hand,  the  colors  of  silks  and 
wools  used  in  embroidery  are  more  likely  to  fade  than  the 
tints  of  the  paint-box.  All  water-color  productions  on 
wood  may  be  covered  with  a thin  coat  of  shellac,  and  thus 
in  a measure  protected.  It  is  not  very  satisfactory  to 
do  tins,  as  the  process  gives  an  artificial  shininess  to  the 
coloring. 

The  catalogue  of  things  that  may  be  thus  decorated  is 
endless,  limited  only  by  the  number  and  variety  of  straight 
lines  in  any  room  capable  of  receiving  a border  of  silk  or 


OIL  AND  WATER-COLOR  PAINTING. 


273 


velvet.  Lambrequins,  table-cloths,  clock-carpets,  banner- 
screens,  and  the  like,  may  all  be  gracefully  ornamented 
with  strips  of  painted  subjects. 

For  articles  which  cannot  be  put  away  on  sweeping-day, 
taken  down,  shaken,  folded  up,  and  laid  in  a drawer,  both 
body-color  and  transparent  color  (and,  indeed,  silk  em- 
broidery) are  too  delicate  to  be  used  in  decorations. 
Panels  which  are  permanently  let  into  parts  of  the  room, 
or  into  wall-cabinets,  large  screens  made  of  gold  canvas, 
decorations  painted  directly  upon  doors  or  window-frames, 
— all  these  should  be  painted  in  oils,  which  resist  the  at- 
tacks of  dust-brush  and  broom,  and  bear  the  application  of 
soap  and  water.  The  ugly  marble  slabs  at  the  sides  of  old- 
fashioned  chamber  fire-places  may  be  painted  in  oils  effect- 
ively. It  may  be  done  with  equal  effect  in  water-colors, 
but  when  interjection,  or  some  other  exclaiming  maid, 
comes  in  with  her  broom  and  scrubbing-brush,  she  may 
destroy  in  half  an  hour  the  work  of  a week. 

Oil  painting  is  secure  from  destruction  in  such  oases, 
and  for  such  things  may  be  appropriately  used.  It  seems 
to  me  unsuited  for  painting  on  plush  and  velvet,  a process 
entailing  a deal  of  trouble  and  paint  without  adequate 
results.  The  surface  of  these  two  materials  is  so  rich  and 
beautiful  as  to  be  injured  rather  than  ornamented  by  over- 
lying  coats  of  paint.  Plush  and  velvet  may  be  better  em- 
ployed as  the  body  of  table-cloths,  mantel-cloths,  and  the 
like,  with  borders  of  decorated  silk  or  satin.  The  con- 
trasted contact  of  the  two  materials  enhances  the  effect  of 
both. 

The  painting  of  fans  is  a most  legitimate  use  of  color  in 


274 


SELF-IN STRUCT!  VE  LESSONS. 


decoration,  and  it  might  well  be  more  in  vogue  than  it  is 
at  present.  Antique  fans  are  esteemed  great  treasures, 
and  they  are  valuable  for  their  historic  interest  as  well  as 
for  their  artistic  merits.  An  old  fan  is  full  of  romance  and 
sentiment  associated  with  its  old-time  artist  and  wearer. 
The  most  distinguished  artists  have  not  scorned  to  devote 
their  most  delicate  touches  to  this  work.  Collections  and 
exhibitions  of  fans  show  specimens  from  every  century 
running  back  to  Queen  Elizabeth’s  time.  They  mark,  in 
their  way,  the  progress  of  art  at  their  different  periods. 
Our  century  and  country  should  contribute  likewise  their 
share  to  keep  up  the  historic  chain.  Fans  are  now  made 
and  bought  so  cheaply,  and  so  well,  that  amateurs  are  not 
much  in  the  habit,  with  us,  of  working  in  this  branch  of 
art ; but  we  should  not  leave  the  pretty  toy  in  the  hands 
of  the  Japanese,  or  the  Paris  shop-keeper,  however  well 
these  may  supply  the  demand.  A fan  should  have  the 
association  of  individual  sentiment  attached  to  it.  You 
may  not  inherit  from  your  great-grandmother  a delightful 
old  fan  with  slender  ivory  sticks,  decorated,  by  the  hand  of 
Watteau  himself,  with  an  arch  shepherdess  and  her  kneel- 
ing swain;  but  you  may  have  inherited  that  grandmother’s 
taste  cultivated  by  contemplation  of  that  pretty  toy,  and 
her  skill  in  execution. 

Fans  should  be  painted  before  being  mounted.  Cut  or 
pull  to  pieces  a cheap  paper  fan,  of  the  size  and  shape  you 
like,  and  make  this  a pattern  for  the  one  you  propose  to 
paint.  The  material  is  fastened  down  upon  a board,  and 
painted  according  to  your  knowledge  of  the  texture  se- 
lected to  work  upon. 


OIL  AND  WATER-COLOR  PAINTING. 


275 


Paper,  linen,  silk,  satin,  or  vellum  is  used.  Vellum  is 
the  best  surface  for  the  brush,  where  great  delicacy,  accu- 
racy, and  high  finish  are  to  be  employed.  A fan  may  suit- 
ably receive  all  this  care  ; for  it  is  held  in  the  hand  at 
periods  of  leisure,  when  it  will  receive  all  possible  examin- 
ation and  admiration,  if  it  deserves  it. 

Upon  the  other  materials  mentioned,  body  colors  are 
best  used,  even  if  the  color  is  white.  Black  silk  or  satin 
fans  are  effective,  done  in  one  set  of  colors  only,  as  “ gris- 
aille,” for  instance ; i.  e.,  grays  mixed  more  or  less  with 
Chinese  white,  and  the  highest  lights  pure  Chinese  white. 
The  shadows  may  be  warmed  with  touches  of  brown  mad- 
der and  pink.  With  skill,  transparent  colors,  used  very 
thick,  not  wet,  give  a very  pretty  effect,  even  on  dark 
silk  surfaces. 


MORE  ARTICLES  TO  DECORATE, 

WITH  DIRECTIONS  FOR  MAKING  HP. 

Panels  for  Clocks.  — Take  a piece  of  pasteboard  the 
size  you  wish  the  panel,  cut  a piece  out  the  size  of  the 
dial  of  your  clock,  then  cover  with  velvet  or  plush,  and 
paint  some  pretty  design  on  one  side. 

Thermometers  and  Calendars. — Materials:  paste- 
board, velvet,  plush,  satin,  or  silk,  satin  ribbon,  small 
silk  cord.  The  foundation,  of  pasteboard,  may  be  cut 
in  any  shape,  — round,  square,  oval,  or  crescent  shaped. 
Draw  the  covering  over  smoothly,  then  sew  on  the  ther- 


276 


SELF-INSTRUCTIVE  LESSONS. 


mometer  or  calendar  (small  printed  calendars  can  be 
bought  for  this  purpose),  putting  a bow  of  ribbon  at  each 
end  if  it  is  a thermometer.  Sew  the  lining  on  over  and 
over,  and  catch  on  the  silk  cord  to  cover  the  stitches. 
By  covering  a narrow  strip  of  pasteboard,  and  sewing  on 
to  the  back,  it  can  be  made  to  stand  up. 

Brush-Cases. — Two  pieces  of  heavy  pasteboard  as 
wide  as  the  brush  is,  at  the  bottom,  and  half  as  wide  at  the 
other  end;  point  the  widest  end;  cover  the  back  side  with 
cambric,  and  the  other  with  silk,  satin,  velvet,  or  plush, 
and  paint  on  it ; sew  the  two  pieces  together  at  the  sides, 
and  finish  with  plaited  satin  ribbon  or  cord.  Fasten 
ribbon  or  cord  to  the  widest  end  to  hang  it  up  by. 
Another  and  very  pretty  one  is  made  by  taking  a small 
picture-frame  and  fitting  the  case  into  it,  the  case  consist- 
ing of  two  pieces  of  pasteboard  the  width  of  the  frame, 
but  one  being  three  inches  longer,  so  that  when  they  are 
sewed  together  at  the  top  and  bottom  the  outside  one 
will  give  room  for  the  brush.  Cover  the  outside  with 
satin,  plush,  or  velvet,  and  paint. 

Slipper-Case.  — The  foundation  may  be  made  of 
pasteboard  and  covered,  but  a carved  frame  is  prettier. 
If  of  pasteboard,  make  the  back  16  inches  long  by  10  wide, 
and  the  pockets  to  contain  the  slippers  the  same  width, 
but  only  9 inches  long.  The  pockets  are  sewed  on  to  the 
back,  and  finished  with  cord. 

Umbrella-Case.  — A piece  of  momie-cloth  as  long  as 
an  umbrella,  and  about  8 inches  wide,  pointed  or  rounded 
at  the  bottom ; another  piece  6 inches,  more  or  less, 
shorter,  and  a little  wider ; bind  the  edges  together  with 


OIL  AND  WATER-COLOR  PAINTING.  277 

ribbon  or  braid,  and  stitch  through  the  middle ; paint  on 
each  side  and  on  the  top. 

Shaving-Cases.  — A piece  of  thick  Whatman  paper 
or  pasteboard  covered  with  silk,  satin,  plush,  or  velvet, 
the  foundation  cut  in  any  pretty  shape,  7 by  5 inches ; 
finish  the  edge  with  satin  ribbon  or  cord,  and  fill  with 
white  or  colored  tissue-paper  cut  the  same  size  as  the 
case.  Fasten  ribbon  or  cord  to  the  upper  corners  to  hang 
it  by.  Tilton’s  Outline  Designs  can  be  used  for  the 
outside,  and  painted,  or  the  designs  prepared  for  inlaid 
painting,  instead  of  Whatman  paper,  etc. 

Bag  for  Soiled  Linen.  — Make  a bag  of  momie-clotli 
half  a yard  square ; if  you  wish  it  very  pretty,  put  on 
bands  of  velvet  at  top  and  bottom,  and  let  the  painting 
come  partly  on  the  bands ; hem  at  the  top,  and  fringe  at 
the  bottom.  Put  a strong  wire  or  curtain-stick  in  the 
hem  at  the  back  to  keep  it  out  straight,  and  hang  with 
ribbons  the  color  of  the  bands. 

Shopping-Bags.  — Half  a yard  of  satin,  plush,  or  vel- 
vet ; line  with  contrasting  color.  Make  two  welts  half  a 
finger  from  the  top,  and  run  in  two  ribbons  to  draw  up  by. 

Another.  — Three  pieces  of  velvet,  satin,  or  plush 
5 inches  wide,  8 long,  pointed  at  the  bottom ; sew 
together  and  line,  and  finish  with  a tassel  on  each  point. 
Paint  each  piece. 

Tobacco-Pouch.  — A piece  of  plush,  velvet,  or  momie- 
cloth,  10  inches  long  by  6 wide  ; cut  one  end  like  the  top 
of  an  envelope.  Line  with  silk,  bind,  or  finish  with  a 
cord;  sew  the  sides  together;  tie  the  lap  with  narrow 
ribbon. 


278 


SELF-INS  Til  UC  TI VE  LESSONS. 


Sunshades.  — Any  plain  silk  or  satin  parasol  could  be 
done  in  oil-colors. 

Straw  Hats.  — Shade-hats  for  ladies  and  children 
would  be  very  pretty  with  field  flowers  painted  in  oil- 
colors. 

Mantel-Scarf.  — A piece  of  felt,  plush,  or  satin  — 
for  a bedroom,  muslin  or  satine  — as  wide  as  the  mantel 
or  bracket  shelf,  and  long  enough  to  admit  of  painting 
the  ends.  If  felt,  put  a band  of  plush  on  the  ends,  and 
small  tassels. 

Lambrequins.  — Cover  the  mantel,  if  a wooden  one, 
with  a strip  of  the  material  of  which  you  are  to  make  the 
lambrequin,  which  is  simply  another  strip  half  a yard 
wide.  If  velvet,  plush,  or  satin,  line  with  stiff  cambric, 
and  paint  them.  The  lambrequins  are  fastened  on  to  the 
shelves  with  brass-headed  nails. 

W all-Bracket.  — A very  pretty  bracket  can  be  made 
by  covering  pieces  of  pasteboard  with  silk  or  velvet, 
and  finish  with  balls  or  tassels.  If  made  of  felt,  finish 
with  a band  of  plush.  Make  the  painting  come  from  one 
side.  When  finished,  tack  on  to  the  shelf  with  small 
brass  nails. 

Splashers.  — These  can  be  made  of  satine,  muslin,  or 
oil-cloth,  three  fourths  of  a yard  long  and  the  width  of  the 
back  of  the  commode  and  washstand. 

Wall-Pockets.  — Two  wooden  frames  the  same  width, 
but  one  longer  than  the  other,  filled  with  straw  matting, 
velvet  or  plush  stretched  over  a thin  board,  and  fastened 
together  with  cord.  Another  is  made  of  a round  fan 

O 

covered  with  satin,  having  a pocket  of  the  same. 


OIL  AND  WATER-COLOR  PAINTING. 


279 


Banner  and  hand-screens  are  used  to  protect  the  eyes 
from  too  strong  light. 

Folding-screens  are  used  to  separate  one  part  of  a room 
from  the  other,  or  to  keep  oft'  uncomfortable  draughts. 
They  are  often  placed  in  dining-rooms  by  the  door  of  the 
china  closet. 

Banner-Screens. — -These  are  made  of  any  plush, 
silk,  satin,  or  velvet,  finished  with  silk  cord.  The  stands 
for  mounting  them  are  kept  at  all  fancy-shops. 

Hand-Screens.  — - These  are  simply  fans  covered  with 
something  and  painted.  For  many  of  these  articles,  the 
inlaid  velvet,  or  any  of  the  Outline  Designs,  prepared  and 
sold  by  S.  W.  Tilton  & Co.,  if  prettily  painted,  would  he 
very  effective. 

Folding-Screens  and  Fire-Screens.  — For  both  of 
these  the  panels  may  be  covered  with  paper,  plush,  satin, 
velvet,  felt,  straw  matting,  and  fitted  into  a framework  of 
wood.  The  design  must  be  large,  and  painted  in  oils. 
These  are  placed  in  front  of  open  fireplaces. 

Fireplace-Curtains.  — These  are  made  of  satin,  silk, 
or  plush  which  will  harmonize  with  the  other  fittings  of 
the  room,  and  are  run  on  a brass  rod  in  front  of  the  fire- 
place to  conceal  it  when  there  is  no  fire. 

Portieres. — -Plush,  satin,  velvet,  or  felting,  or  any 
heavy  material.  A large  design  can  be  painted  on  the 
entire  portiere.  But  a broad  band,  say  from  16  to  18 
inches,  9 inches  from  the  top,  of  some  contrasting  color, 
and  painted,  is  more  effective. 

Window-Curtains.  — These  may  be  decorated  like 
portieres,  or  made  of  muslin,  with  either  a border  of  flowers 
or  flowers  scattered  over  them. 


280 


SELF-INSTRUCTIVE  LESSONS. 


Clothes-Baskets.  — The  tall  baskets  used  for  soiled 
clothes  can  be  rendered  ornamental  by  painting  some 
large  design  on  them. 

Waste-Baskets  and  Catch-alls.  — These  are  both 
useful  and  ornamental  in  every  room,  but  baskets  are  the 
prettiest ; they  can  be  made  by  cutting  pieces  of  paste- 
board the  right  size  and  height,  covering  with  mornie- 
clotli,  felt,  or  velvet,  painting  each  side,  then  sewing 
together,  and  finishing  with  a cord. 

Piano-Covers.  — These  are  generally  made  in  these 
days  in  the  same  way  as  mantel  and  table  scarfs. 

Clock-Carpet.  — A piece  of  felt,  velvet,  or  plush,  a 
little  wider  than  the  clock,  put  under  it,  and  long  enough 
to  hang  over  the  mantel,  this  end  being  painted. 

Tidies.  — The  varieties  are  almost  endless,  also  the 
materials  used.  Silk  bolting-cloth  in  stripes,  with  alter- 
nate stripes  of  lace,  and  edged  with  lace;  felt,  finished 
with  plush ; silk  or  satin,  with  lace. 

Roll  eor  Feather  Duster.  — Cover  a piece  of  paste- 
board as  long  as  the  feathers,  and  wide  enough  to  go 
round  them,  with  velvet,  and  draw  the  duster  through  the 
roll  when  hung  up. 

Music-Roll.  — Make  the  outside  of  velvet  or  plush; 
line  with  something  stiff  first,  then  with  silk,  and  put  cord 
on  the  edge,  or  bind  with  ribbon. 

Frame-Borders.  — Frame-borders  are  the  mats  over 
pictures,  either  mounted  in  frames,  or  bound,  as  in  passe- 
partout. Buy  or  make  for  yourself  a pasteboard  mat,  and 
cover  with  velvet  or  plush. 

Christmas,  Easter,  Birthday,  or  Valentine 


OIL  AND  WATER-COLOR  PAINTING. 


281 


Cards.  — These  can  be  bought  of  S.  W.  Tilton  & Co. 
ready  to  paint;  otherwise  make  of  wide  satin  ribbon, 
fringed  at  each  end.  Paint  on  the  satin,  and  tie  on  a 
little  card  marked  with  the  day. 

Sofa-Cushion.  — Made  of  crazy  patchwork,  with  centre- 
piece painted.  Another  way  is  to  make  the  covering  of 
plush  a yard  long,  and  one-half  wide,  and  tie  with  satin 
ribbon  a quarter  of  a yard  from  the  top. 

Toilet-Sets.  — Pin-cushion  and  mats  covered  with  silk 
or  satin,  painted,  and  finished  round  the  edge  with  plaited 
satin,  ribbon,  and  lace.  Another  way  is  to  have  a mat  of 
lace  to  cover  the  cushion,  except  a place  in  the  middle, 
which  can  be  painted. 

Bureau-Scarfs.  — Can  be  made  of  momie-cloth  or 
satine,  the  painting  coming  on  the  ends. 

Pillow-Shams.  — Are  often  made  of  crazy  patchwork, 
with  many  of  the  pieces  painted.  They  might  be  made 
like  pin-cushions, —lace  over  silk. 

Glove  and  Handkerchief  Boxes.  — Make  the  box 
of  pasteboard  covered  with  satin,  plush,  or  velvet,  and 
paint  on  the  top  and  sides.  Boxes  can  be  bought  at  some 
shops  all  ready  to  paint. 

Handkerchief  Sack.  — Take  a square  piece  of  satin, 
velvet,  or.  plush,  say  half  a yard  square;  line  with  quilted 
silk  or  satin  ; finish  the  edges  with  cord  or  ribbon ; sew  a 
ribbon  on  each  corner,  and  tie  from  opposite  corners. 
Another  is  a small  satin  or  plush  bag  suspended  between 
three  bamboo,  gilt,  or  ebonized  sticks. 

Key-Board.  — Cover  a piece  of  stiff  pasteboard  with 
plush.  Make  six  small  holes  in  this,  and  put  small  brass 


282 


S ELF-INS TR  UCT1 VE  LESSONS. 


hooks  through  them ; fasten  them  in  firmly,  and  line  the 
board  with  silk  or  satine.  Hang  up  with  satin  ribbon. 
These  are  very  useful  for  button-hooks,  keys,  and  small 
brushes. 

Watch-Cases.  — Cut  the  shape  you  wish  out  of  paste- 
board; make  the  little  pocket  for  the  watch  3 inches  long 
and  1 inch  wider  than  the  bottom  of  the  back,  and  cover 
with  plush  or  velvet;  finish  with  cord  or  ribbon. 

Table-Mats.  — Common  straw  table-mats  can  be  easily 
painted  and  made  very  ornamental. 

Table  and  Sideboard  Covers.  — Make  of  felting  or 
Turk’s  satin  ; have  the  edge  pinked,  or  finished  with  plush. 

Duster  Covers.  — A bag  made  of  silk  or  satin,  which 
holds  the  duster. 

D’Ovlies.  — For  finger-bowls,  can  be  made  of  jean  or 
satine.  This  should  be  a quarter  of  a yard  square,  and 
fringed. 

Easel,  Mirror,  and  Picture  Scarf.  — Either  of 
these  can  be  made  of  satin,  silk,  velvet,  plush,  muslin,  or 
bolting-cloth.  They  should  be  from  1|  yards  to  2 yards 
long  and  | of  a yard  wide.  Line  velvet  or  plush  with  silk. 
Edge  muslin  or  bolting-cloth  with  lace.  Paint  the  ends, 
and  drape  gracefully  over  the  easel,  mirror,  or  pictures. 

Shawls.  — A square  of  cashmere  or  flannel  painted  in 
the  corners. 

Slumber-Robe.  — Can  be  made  of  heavy  flannel,  felt, 
or  crazy  patchwork,  filled  with  down  or  wool  wadding,  and 
lined  with  silk,  flannel,  or  cashmere. 

Slumber-Roll.  — A round  cushion  covered  with  plush 
or  satin,  and  fastened  on  to  the  top  of  the  easy-chair. 


OIL  AND  WATER-COLOR  PAINTING. 


283 


Carriage  Shawl.  — Made  of  very  heavy  flannel,  with 
painting  in  the  centre. 

Blanket  for  Baby-Carriage.  — Made  like  the 
above,  only  of  some  delicate  color,  and  bound  with  broad 
satin  ribbon. 

Dog-Blanket.  — Make  of  flannel,  felting,  or  broad- 
cloth. 

Panel  for  Doors.  — A piece  of  plush,  satin,  or  felting 
the  exact  size  of  the  door-panel  can  be  neatly  tacked  or 
glued  on  to  the  wood. 

Lamp-Shades.  — A piece  of  silk  long  enough  to  go 
round  the  shade  painted ; shirr  at  the  top  by  running  in 
narrow  ribbon;  put  lace  at  the  bottom,  or  knot  in  a fringe 
of  knitting-silk. 

Slippers.  — These  can  be  made  of  velvet,  plush,  or 
broadcloth. 

Fans.  — Plain  satin  and  silk  fans  are  among  the  pret- 
tiest articles  to  decorate. 

Palm-Leaf  Fans.  — Are  very  effective  for  wall  deco- 
ration. Much  the  easiest  way  is  to  take  them  to  a paint- 
shop  and  have  the  background  put  on  it,  then  put  in 
the  design  yourself.  They  are  very  pretty  gilded,  or 
bronzed. 

Blotters.  — Take  six  pieces  of  blotting-paper  the  size 
you  wish  ; tie  them  together  with  satin  ribbon,  and  paint 
the  first  one,  which  forms  the  cover. 

Sachets. — A piece  of  satin  ribbon  \ yard  long'and  1 
yard  wide.  Fringe  the  ends,  and  sew  the  sides  together 
halfway  up,  and  trim  round  with  narrow  lace.  Fill  with 
cotton  sprinkled  with  sachet-powder,  and  tie  with  narrow 


284 


SELF-INSTRUCTIVE  LESSONS. 


ribbon  below  the  fringe.  Two  of  these  made  of  wider 
ribbon  or  silk  are  tied  together,  and  hung  on  an  easel  or 
the  back  of  a chair. 

Book-Covers,  Portfolio-Covers,  and  Photograph- 
Cases. — These  are  all  made  in  the  same  way.  A piece 
of  satin,  velvet,  or  plush  long  enough  to  be  turned  up  at 
each  end,  that  the  book  or  photograph  may  be  slipped  in. 

Tables.  — Covered  with  plush  are  very  ornamental. 
Have  a carpenter  make  a pine  table,  round  top,  or  shape 
of  clover  leaf,  with  three  legs  crossed  in  the  middle;  ebo- 
nize  the  legs,  and  tie  with  bunch  of  bright  ribbons  where 
they  are  crossed.  Cover  the  top  with  plush  or  felting. 

Milking-Stools.  — These  are  now  used  as  parlor 
ornaments.  Take  them  to  a painter  and  have  them 
painted  or  gilded,  then  put  some  design  on  them,  and 
tie  bright  ribbons  round  the  legs.  Sometimes  these 

o o 

stools  are  upholstered. 


DIRECTIONS 

FOR 

PAINTING  THE  CUTS  AT  HEAD  OF  CHAPTERS. 

The  cuts  which  are  at  the  beginning  of  the  chapters  may 
all  be  used  as  exercises  in  color,  — the  landscapes  for  prac- 
tising the  wet  washes  of  transparent  water  color  described 

in  chapter , and  the  flowers  for  trying  the  different 

kinds  of  paints.  The  flowers  also  may  be  used  as  em- 
broidery patterns,  as  I will  explain  with  each. 


OIL  AND  WATER-COLOR  PAINTING. 


285 


CHAPTER  I. 

The  illustration  which  heads  this  chapter  is  a little  land- 
scape. You  may  practise  enlarging  it  by  putting  a little 
scale  in  the  corner  as  described  in  chapter  III.  Paint  a 
gradated  sky  with  cobalt  at  the  top,  running  down  through 
yellow  ochre  to  the  foreground,  where  it  may  be  changed 
to  blue  for  the  water  and  gray  for  the  land.  The  hill  in 
the  foreground  should  be  colored  bright  green  (gamboge, 
indigo,  and  a little  touch  of  light  red).  The  grove  in  the 
middle  distance  should  be  painted  a bluer  green  (cobalt  and 
yellow  ochre),  and  the  hills  in  the  distance  a pale  purple 
gray.  The  rock  under  the  tree  should  be  light  red,  with  a 
cool  cobalt  shadow. 

CHAPTER  II. 

This  pale  flower  is  pretty  for  painting  on  light  silk  with 
transparent  colors.  The  upper  flower  will  show  on  a light 
background  if  painted  with  delicate  tints  of  crimson  lake. 
The  flower,  relieved  by  its  own  leaves,  may  be  left  nearly 
white.  The  tips  of  the  third  flower  may  be  pink,  the  rest 
left  white,  relieved  by  the  leaves.  The  green,  mixed  with 
indigo  and  gamboge,  should  have  plenty  of  crimson  lake 
added  to  it,  as  the  leaves  of  the  anemone  are  more  crim- 
son than  green. 

CHAPTER  III. 

A gradated  sky  running  from  deep  cobalt  to  rather 
bright  yellow  ochre  at  the  horizon,  changing  to  blue  again 
for  the  waves,  and  to  gray  for  the  sandy  shore.  The  rocks 
may  be  light  red,  with  cobalt  mixed  in  it  for  shadows. 


286 


SELF-INS  TR  UCTI VE  LESSONS. 


CHAPTER  IV. 

This  will  make  a pretty  continuous  pattern  if  you  take 
a little  pains  to  alter  it  where  it  would  join.  It  may  be 
used  for  painting  on  dark  velvet  with  thick  gouache  color, 
as  crimson  lake  or  the  liquid  carmine  combines  well  with 
Chinese  white.  The  leaves  should  have  a good  deal  of 
lake  in  them. 

CHAPTER  V. 

Gray  clouds,  the  water  gray,  the  distant  hills  pinkish- 
green,  of  cobalt,  yellow  ochre,  a little  lake ; the  bars  a 
dark  gray,  made  of  cobalt  and  light  red ; the  foreground 
green,  relieved  by  glimpses  of  light  red. 

CHAPTER  VI. 

This  design  would  be  pretty  good  for  Kensington  stitch, 
there  are  so  many  long  marks  in  it,  which  you  can  make 
with  a pen  or  the  pointed  stick.  The  colors  should  be 
light  pink  for  the  flowers,  and  blue-green  for  the  leaves. 
You  can  easily  alter  the  shape  of  this  design  by  lengthen- 
ing the  stems. 


CHAPTER  VII. 

This  great  anemone,  so  different  from  our  delicate  ones, 
grows  abundantly  in  Syria  and  the  south  of. Europe.  It 
should  be  painted  with  rich  scarlets,  such  as  you  can  find 
among  Tilton’s  liquid  colors.  The  centres  are  nearly 
black,  and  the  leaves  bright  green. 

CHAPTER  VIII. 

Paint  this  for  variety  with  a gray  sky,  running  into 


OIL  AND  WATER-COLOR  PAINTING. 


287 


yellow  over  the  water ; the  hills  gray  against  the  yellow. 
The  trees  may  be  bluish-green,  to  represent  willows ; the 
sloping  ground  at  the  left  a brighter  green,  and  the  road 
light  red  in  tone  to  relieve  the  sombre  grays. 

CHAPTER-  IX. 

This  flower  is  an  odd  color,  as  it  grows  in  Egypt  — a 
sort  of  chocolate.  It  would  be  effective  done  in  Lustra, 
with  chocolate  for  the  flower  and  buds,  and  some  gold  in 
the  green  leaves.  It  may  be  made  a continuous  pattern 
with  very  slight  alteration  in  the  direction  of  the  stems. 

CHAPTER  X. 

A little  landscape  which  you  may  paint  to  your  taste, 
with,  for  instance,  dark  blue  mountains  against  a glowing 
yellow  sky ; brighter  greens  in  the  foreground. 

CHAPTER  XI. 

This  Spanish  magnolia  is  here  only  about  a third  of  its 
real  size;  the  flower  I drew  it  from  measured  ten  inches 
across.  Thus  enlarged  it  would  be  effective  in  silver  lustra 
paints,  with  a gold  centre  and  bronze  and  green  leaves. 

CHAPTER  XII. 

Landscape,  with  bulrushes;  — which  may  be  painted  in 
dark  browns  and  greens  against  a blue  sky,  the  river 
gleaming  white  in  the  distance,  dark  blue  in  front. 

CHAPTER  XIII. 

This  landscape  may  be  rather  lurid  in  effect,  with  a crim- 
son-tinted yellow  for  the  sky  and  water,  the  rocks  and 
beach  dark  against  it,  painted  with  cobalt  and  light  red. 


288 


SELF-INS TR  UCTI VE  LESSONS . 


CHAPTER  XIV. 

These  little  Alpine  flowers  are  intense  ultramarine  blue, 
with  bright  green  leaves.  The  pattern  is  continuous,  and 
would  be  pretty  painted  in  Tilton’s  liquid  colors  on  the 
straight  edge  of  a towel  or  some  washing  material. 


CHAPTER  XV. 

This  may  be  painted,  just  as  it  is,  in  transparent  water- 
color — bright  greens  made  of  Antwerp  blue  and  gam- 
boge. With  a little  adaptation  it  would  go  well  on  a fan 
of  white  paper  or  silk. 

CHAPTER  XVI. 

The  receding  road  with  poplars  will  look  well  against  a 
clear  sky,  gradated  from  cobalt  blue  through  yellow  ochre 
to  rose,  made  by  adding  a little  pink.  The  trees  on  the 
left  should  be  darker,  with  more  blue  in  them  than  those 
on  the  right.  Bright  green  turf  should  run  down  to  the 
road,  which  may  be  colored  either  gray  or  light  red. 

CHAPTER  XVII. 

This  will  be  best  on  a background,  leaving  the  flowers 
white.  If  the  background  be  not  too  dark,  the  green 
leaves  may  be  painted  over  it.  These  snowdrops  are  the 
size  of  life. 

CHAPTER  XVIII. 

This  will  serve  as  good  practice  for  a clear  gradated  sky 
reflected  in  the  water.  The  sails  may  be  painted  dark 
gray  against  the  background,  or  left  out  white. 


OIL  AND  WATER-COLOR  PAINTING. 


289 


CHAPTER  XIX. 

Cobalt  sky,  gray  clouds,  bright  green  bank,  yellow  ochre 
cliff,  gray  sand,  a white  curve  to  indicate  surf,  and  blue- 
gray  water. 

CHAPTER  XX. 

Cobalt  with  a little  crimson  lake  will  make  these  violets; 
they  are  rather  brighter  than  the  New  England  ones. 
The  stems  should  be  light  yellow-green  and  the  leaves 
darker. 

CHAPTER  XXI. 

The  sky  clear  cobalt,  somewhat  gradated.  The  rock 
gray,  almost  yellow  ochre  on  the  light  part,  the  tree  dark 
green,  with  touches  of  light  red,  and  light  red  in  the  fore- 
ground. The  hills  warm  gray,  a,  little  blue  on  the  water. 

CHAPTER  XXII. 

You  may  make  a pretty  gray  effect  of  this  by  painting 
almost  everything  in  grays,  except  the  rock,  which  may 
be  light  red,  with  cobalt  in  the  shadows. 

CHAPTER  XXIII. 

I should  like  you  to  study  the  tints  of  some  real  rose  in 
painting  this,  to  put  in  practice  the  laws  of  complementary 
color  in  delicate  shading.  The  design  may  be  enlarged 
about  one  third. 

CHAPTER  XXIV. 

This  is  a continuous  pattern.  Enlarged  it  would  do  for 
Kensington  stitch  painting. 


EXPLANATION 


OF  THE 

TECHNICAL  WORDS  USED  IN  THIS  BOOK. 


Arabesque,  or  Moresque.  Ornaments  with  which  the  Arabs 
adorned  the  walls,  ceilings,  and  floors  of  their  buildings.  Fruits,  flowers, 
mathematical  figures,  in  short,  everything  except  the  forms  of  men  and 
animals,  which  were  forbidden  by  the  prophet,  were  thus  fantastically 
used  by  them. 

Artist.  One  who  exercises  the  fine  arts,  meaning  thereby  the  plastic 
arts  especially.  This  term  is  by  some  writers  made  to  include  the  musi- 
cian, and  by  others  even  the  poet,  but  it  is  properly  limited  to  the 
sculptor,  painter,  and  architect. 

Decorative  Art.  A generic  term  used  to  designate  that  branch  of 
the  fine  arts  which  is  exclusively  devoted  to  ornamental  enrichments  of 
every  kind. 

Chiaro-Oscuro.  That  important  part  of  painting  which  relates  to 
light  and  shade.  The  aim  of  painting  is  to  form  a picture  by  means  of 
light  and  shade,  and  by  colors  and  their  gradations  ; the  more  truly 
painting  accomplishes  this  end,  the  more  artistic  it  will  be. 

Dragging.  The  brush,  being  charged  with  thick  paint,  is  held 
loosely  in  the  hand,  and  dragged  over  certain  parts. 

Foreshortening.  The  art  of  representing  objects  on  a plain  surface 
as  they  appear  to  the  eye,  depending  upon  a correct  knowledge  of  form, 
perspective  and  chiaro-oscuro.  It  is  one  of  the  most  difficult  studies  in 
the  art  of  design,  and,  when  executed  with  skill,  constitutes  the  excel- 
lence of  the  master. 

Glazing  is  that  part  of  the  practice  of  oil-painting  which  consists  in 
the  application  of  an  extremely  thin  layer  of  color  over  another  for  the 
purpose  of  modifying  its  tone.  By  glazing  the  painter  can  produce  cer- 
tain effects,  such  as  transparency  and  mellowness,  impossible  with  the 


201 


292  EXPLANATION  OF  TECHNICAL  TERMS. 


aid  of  solid  pigments  alone.  The  color  employed  in  glazing  should  be 
of  a darker  tint  than  the  solid  pigment  over  which  it  is  laid. 

Half-Lights.  The  lights  of  a picture  intermediate  between  the  high 
lights  and  shadows. 

Harmony.  The  principal  means  of  producing  effect  in  works  of  art. 
It  consists  in  the  unity,  connection,  similarity,  and  agreement  of  one  part 
with  another  under  the  relations  of  form,  light,  and  color. 

High-Light.  The  brightest  light  on  an  object  or  in  a picture. 

Lambrequin  is  a French  word,  defined  as  “the  ornamental  covering 
for  the  helmet  of  a knight.”  Anglicized,  it  means  a piece  of  drapery 
pendent  from  a shelf  or  from  a window  for  the  purpose  of  ornament. 

Landscape.  A general  view  of  any  portion  of  the  open  country  not 
comprehending  street  architecture  or  views  of  edifices  merely. 

Local  Color.  See  page  110.  _ 

Medium.  .The  liquid  with  which  pigments  are  mixed  and  made  ready 
for  the  artist’s  use. 

Ornament.  All  the  accessory  parts  of  a work  which  have  the  merit 
of  adding  to  its  beauty  or  effect.  Ornament,  in  the  true  and  proper 
meaning  of  the  word,  signifies  the  embellishment  of  that  which  is  in 
itself  useful  in  an  appropriate  manner.  Yet  by  a perversion  of  the  term 
it  is  frequently  applied  to  mere  enrichment,  which  deserves  no  other 
name  than  that  of  unmeaning  detail  dictated  by  no  rule  but  that  of 
individual  fancy  and  caprice. 

Palette.  A piece  of  wood,  usually  of  walnut  or  mahogany,  upon 
which  the  painter  lays  the  pigments  with  which  he  paints  his  pictures. 
To  “set  the  palette”  is  to  lay  upon  it  the  pigments  in  certain  order, 
selecting  them  according  to  the  key  in  which  the  picture  is  to  be  painted. 
In  “The  Art  of  Painting  Restored,”  an  excellent  plan  of  arranging  the 
palette  is  given,  the  order  being  to  commence  with  -white,  and  then  pro- 
ceed through  the  yellows,  reds,  and  blues,  to  black,  by  which  every  pos- 
sible tint  can  be  compounded. 

Pigment.  Paints,  colors ; the  colored  material  used  in  painting. 
They  are  partly  artificial  and  partly  natural  productions,  derived  from 
the  three  kingdoms  of  nature,  but  chiefly  from  the  mineral ; and,  even 
when  of  animal  or  vegetable  origin,  they  are  always  united  with  a min- 
eral substance,  an  earth  or  an  oxide,  because  in  themselves  they  have  no 
body,  acquiring  it  only  by  union  with  a mineral. 

Plaque.  ( 1 ) A flat  plate  of  metal  upon  which  enamels  are  painted  ; 
hence  the  word  is  applied  to  designate  the  small  enamels  themselves, 
done  at  Limoges  in  the  fifteenth  century.  A similar  flat  piece  of  china, 
used  for  decorative  purposes,  and  upon  which  pictures  were  painted,  is 
also  termed  a plaque,  as  well  as  the  shell  used  to  guard  a sword-hilt. 


EXPLANATION  OF  TECHNICAL  TERMS.  293 


(2)  A decorated  plate  or  saucer,  designed  to  be  hung  upon  a wall  to 
ornament  a room. 

Portiere.  A curtain  hanging  across  an  opening  for  a door,  or  used 
as  a screen. 

Realistic.  Faithful  to  nature  or  to  actual  life  in  artistic  or  literary 
productions. 

Repose  ( 1 ) alludes  to  that  quality  in  painting  which  gives  it  entire  de- 
pendence on  its  inherent  ability,  and  does  not  appeal  by  gaudiness  of 
color,  or  exaggeration  of  attitude,  to  a false  estimate  of  ability.  A gen- 
eral quietude  of  color  and  treatment,  an  avoidance  of  obtrusive  tints,  or 
striking  action  in  figures. 

(2)  That  harmony  or  moderation  which  affords  rest  for  the  eye  is  gen- 
erally comprehended  by  this  designation  when  applied  to  a work  of  art. 

Stippling  is  a process  by  which  the  effect  is  produced  by  dots  instead 
of  lines. 

Tone.  The  prevailing  color  of  a picture,  or  its  general  effect. 

Value.  See  page  103. 

Vehicle.  Another  term  for  Medium. 


I 


Instructions 


OIL  AND  WATER-COLORS 


On  Silk,  Satin,  Plush,  Linen,  Wood,  &c.,  &c. ; 

Landscape  Painting  with  Oil  and  Water  Colors, 

Hammered  Brass,  China  and  Pottery  Painting, 

Tapestry  Painting,  Etching,  Illumination,  Ori- 
ental and  Grecian  Painting,  Amateur  Photography,  How  to  make  Christmas  and  Birth- 
day Cards,  Crayon  and  Charcoal  Drawing,  Bronzing  and  Gilding,  Stencilling,  Poonah 
Painting,  Moulding  Fruit  in  Wax  and  Plaster,  Fresco  Painting,  Chromo  Photography, 
Leather  Work,  Photograph  Painting  with  Oil  and  Water  Colors,  besides  many  other 
kinds  of  Decorative  Art  Work  which  we  have  not  space  to  mention  here. 

It  also  contains  designs  for  various  kinds  of  Ornamental  Work. 

Sent  by  Mail,  postpaid,  on  receipt,  of  price,  552.00,  by 

S.  W.  TILTON  & CO., 

333  Washington  St.  (up  one  flight,) . .....  BOSTON,  MASS. 


BULLFINCH’S  MYTHOLOGY. 
T FT  HU 


AGE  OF  FABLE, 

CONTAINING  THE  STORIES  OF  THE 

GODS  AND  HEROES, 

Which  form  the  subjects  of  by  far  the  greater  portion  of  the 

ANCIENT  PAINTINGS  ATSTD  STATUARY 

to  be  found  in  the  ART  MUSEUMS  of  the  Old  and  New  Worlds, 
By  THOMAS  BULFiNCH.  An  Enlarged  Edition,  printed  from 
entirely  new  type*  with  over  One  Hundred  New 
Illustrations  from  Ancient  Paintings 
and  Statuary. 

Edited  by  Rev,  E.  E.  HALE. 

Without  a knowlege  of  Mythology  much  of  the  elegant  literature  of  our  own 
language  cannot  be  understood  and  appreciated.  In  this  volume  the  stories  of 
Mythology  are  told  in  such  a manner  as  to  make  them  a source  of  amusement  and 
to  give  our  work  the  charm  of  a story  book,  yet  by  means  of  it  to  impart  a knowledge, 
of  an  important  branch  of  education. 

In  the  new  edition  the  publishers  have  added  very  largely  to  the  value  of  the  book, 
as  well  as  to  its  beauty,  by  the  numerous  illustrations  from  the  very  best  classical 
source?.  The  reader  will  see  that  these  illustrations,  in  reproducing  the  master- 
pieces of  ancient  art,  give  the  best  idea  which  we  can  have  of  the  conceptions  which 
Greek  and  Roman  had  of  the  sacred  beings  in  their  Mythology. 

We  trust  our  young  readers  will  find  it  a source  of  entertainment;  those  more 
advanced,  a useful  companion  in  their  reading;  those  who  travel  and  visit  museums 
and  galleries  of  art,  an  interpreter  of  paintings  and  sculptures;  and  those  who  min- 
gle in  cultivated  society,  a key  to  allusions  which  are  occasionally  made. 

The  book  has  been  so  widely  and  so  successfully  used  in.  schools  that  it  seems 
proper  to  add  that  this  new  edition  is  considerably  enlarged. 

§E  W.  TILTON  & ©@OJ  Publ ssbers. 

Sold  at  our  Chambers,  333  WASHINGTON  STREET,  Boston,  or  sent  by  mail 
to  any  address  on  receipt  of  price,  $2.50. 


